https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Wed, 03 Sep 2025 21:10:41 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60026 <p>Curtis Harrington<br />NIGHT TIDE<br />1963, 84 min, 35mm-to-DCP<br />In Curtis Harrington’s first feature-length film, Dennis Hopper stars as a young sailor who becomes involved with Mora, a woman who may or may not be a living mermaid. Marjorie Cameron appears in a small but crucial role as the sea witch who beckons Mora back to her ocean-home.<br /><br />Preceded by:<br />Curtis Harrington THE WORMWOOD STAR (1956, 10 min, 16mm. Print courtesy of the Academy Film Archive.)<br />Before casting her in NIGHT TIDE, Harrington created this remarkable portrait of Cameron the artist, an historically invaluable document since nearly all of the artworks depicted in the film were destroyed by the artist soon after the shoot.<br /><br />Edward Silverstone Taylor STREET FAIR 1959 (1959, 5 min, 16mm-to-DCP. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Documenting a 1959 street fair on Upper Grant Avenue in San Francisco, which was then the center of Beat culture, this film includes glimpses of filmmaker Dion Vigne and his wife Loreon, artist and occultist Marjorie Cameron, and artist Wallace Berman.<br /><br />Total running time: ca. 105 min.<br /><br /><em><strong>This program will be introduced by Kelly Filreis, a curator and researcher specializing in occult art and California countercultures.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, September 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60028 <p>Craig Baldwin<br />MOCK UP ON MU<br />2008, 110 min, 16mm-to-digital<br />MOCK UP ON MU is a (mostly) true tale of the occult goings-on at the heart of the American space race. Mixing newly-shot footage with an amazing array of archival clips foraged from schlocky pulp serials, industrial films and genre gems, Baldwin creates a playful “collage-narrative” that exposes the all-too-real, all-too-weird ties between California’s post-war beatnik, alternative religion sub-cultures and outer space travel. At the heart of it all we find such real-life players as jet rocket propulsion pioneer and Aleister Crowley-devotee Jack Parsons, his wife Marjorie Cameron (bohemian artist and Kenneth Anger actress), and none other than L. Ron Hubbard. Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.<br /><br /><em><strong>The screening will be introduced by filmmaker Jacqueline Castel!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, September 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60163 <p>In his controversial masterpiece, Chaplin offers both a cutting caricature of Adolf Hitler and a slytweaking ofhis own comic persona. Chaplin, in his first pure talkie, brings his sublimephysicality to two roles: the cruel yet clownish “Tomainian” dictator and the kindly Jewishbarber who is mistaken for him. Featuring Jack Oakie and Paulette Goddard in stellar supportingturns, THE GREAT DICTATOR, boldly going after the fascist leader before the U.S.’s officialentry into World War II, is an audacious amalgam of politics and slapstick that culminates inChaplin’s famously impassioned speech.<br /><br />[<em><strong>Please note: due to an electrical issue, we're forced to postpone the Thurs, Aug 28 screening; that screening will instead take place on Fri, Sept 5 at 6:15. Those who have already bought tickets for the Aug 28 screening can use their tickets on Sept 5, or exchange them at the box office for any other upcoming Anthology screening (and if need be, you can contact us for refunds). Thanks for your understanding!</strong></em>]<br /><br /><strong><strong><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></strong></strong></p> Friday, September 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59973 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, September 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60164 <p>MODERN TIMES, Chaplin’s last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, MODERN TIMES – though made almost a decade into the talkie era and containing moments of sound (even song!) – is a timeless showcase of Chaplin’s untouchable genius as a director of silent comedy.<br /><br />[<em><strong>Please note: due to an electrical issue, we're forced to postpone the Thurs, Aug 28 screening; that screening will instead take place on Fri, Sept 5 at 8:45. Those who have already bought tickets for the Aug 28 screening can use their tickets on Sept 5, or exchange them at the box office for any other upcoming Anthology screening (and if need be, you can contact us for refunds). Thanks for your understanding!</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, September 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59959 <p>All films in this program have been preserved by Anthology Film Archives.<br /><br />MESHES OF THE AFTERNOON<br />(1943, 14 min, 16mm, b&w. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.)<br /><br />AT LAND<br />(1944, 15 min, 16mm, b&w, silent. Photographed by Hella Heyman and Alexander Hammid.)<br /><br />A STUDY IN CHOREOGRAPHY FOR CAMERA<br />(1945, 3 min, 16mm, b&w, silent. By Maya Deren and Talley Beatty.) <br /><br />RITUAL IN TRANSFIGURED TIME<br />(1946, 15 min, 16mm, b&w, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.)<br /><br />“MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change.” –Maya Deren<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, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59974 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59960 <p>Dovzhenko’s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a “cinematic poem” as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: “I did not so much make the picture as sing it out like a songbird.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59975 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59961 <p>“An epic canvas covering Ukrainian history from WWI to the Russian Civil War, as experienced in Kiev, and culminating in fighting around the arsenal in the heart of the city. Dovzhenko essentially uses a static camera, but with much use of montage and cross-cutting. […] Where Dovzhenko is clearly distinctive, however, is his placing of human events against the majestic backdrop of nature, in particular the sky. Man and nature are one, as a dying Bolshevik asks his comrades to transport and bury him in his native soil.” –David C. Gillespie, EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59976 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, September 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59962 <p>(ZEMLYA)<br /><br />A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59977 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, September 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59978 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, September 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59979 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, September 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59980 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59981 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59982 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60030 <p>“Armed conflict hits home in the most vivid way imaginable when mortar fire decimates one wall of the farmhouse belonging to married Ukrainian couple Irka and Tolik. A subsequent plane crash nearby leaves the couple wondering if they should relocate, but stubbornness sets in over being driven from their home by external forces. Winner of the Directing Award in the Sundance Film Festival’s World Cinema Dramatic competition, and based on real events, KLONDIKE unveils its harrowing story in striking widescreen compositions, often framed by the shattered space of Irka and Tolik’s living room. Set in 2014, when conflict in the Donbas region began, Maryna Er Gorbach’s powerful drama takes on even greater pertinence as a precursor to the current war in Ukraine.” –BAMPFA<br /><br />“Working with gifted cinematographer Sviatoslav Bulakovskiy, Er Gorbach shoots [several] sequences in one continuous take…as if she were capturing events in real time. The formally audacious setups recall those in Andrei Tarkovsky’s THE SACRIFICE (also set in a country house as disaster strikes), as well as the long-take masterpieces of Hungarian auteur Miklós Jancsó.” –Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />“An exhilarating piece of cinema, meticulously framed, exquisitely blocked, and beautifully performed, this is a film about the choices we make as the world is torn apart.” –Andrew Haigh<br /><br /><em><strong>The screening will be followed by a Q&A with Maryna Er Gorbach!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59983 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59984 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60037 <p>The cultural impact of Malcolm X has proven immense: his assassination marked the birth of the 1960s-70s Black Arts Movement, he became the central icon of 1980s-90s hip-hop, and he has continued to inspire and influence artmaking across every medium. His rhetoric is remixed as rap in documentarian Dick Fontaine’s MALCOLM X: NO SELL OUT (1984) music video, made with Pat Harley. Magicians in an experimental laboratory, artists and filmmakers John Akomfrah and Jenn Nkiru reveal how the intertwinement of aesthetics and politics function to re-author a self-determined Black history. Nkiru’s mesmerizing REBIRTH IS NECESSARY features a trio of NOI women performing a brief salute within a constellation of references points – James Baldwin, Alice Coltrane, Kwame Nkrumah, Kathleen Cleaver, Sun Ra – which converge and collide in a vision of Blackness across time. Made while Akomfrah was a member of the Black Audio Film Collective, the multi-voiced testimony of SEVEN SONGS FOR MALCOLM X (1993) includes Betty Shabazz, Greg Tate, and Thulani Davis in a knotted study of memory making, fusing the mobility of jazz and the sculptural stillness of photography. As historical retellings, they each layer and remix the cultural narrative and aesthetic imprint of Malcolm X.<br /><br />Dick Fontaine MALCOLM X: NO SELL OUT (1984, 6 min, video)<br /><br />Jenn Nkiru REBIRTH IS NECESSARY (2017, 10 min, digital)<br /><br />John Akomfrah<br />SEVEN SONGS FOR MALCOLM X<br />1993, 52 min, video<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, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59985 <p><strong>FILMMAKER IN PERSON FROM SEPT 5-7!</strong><br /><br />(DORMIR DE OLHOS ABERTOS)<br /><br />Nele Wohlatz made a name for herself on the film festival circuit with her first solo feature, 2016’s EL FUTURO PERFECTO, a documentary-fiction hybrid which revolved around a newly arrived Chinese immigrant in Argentina. Her new work, SLEEP WITH YOUR EYES OPEN, extends the earlier film’s interest in exploring immigration, cross-border travel, culture shock, and the class divisions that global economic networks throw into stark relief. Born and raised in Germany, Wohlatz has consistently made films in and about Latin America, and like EL FUTURO PERFECTO, SLEEP WITH YOUR EYES OPEN centers on Asian travelers and immigrants, this time in the context of the Brazilian coastal city of Recife. On the occasion of a visit to NYC by Wohlatz, we present a weekend of screenings of the new film, with Wohlatz here in person.<br /><br />Co-presented with the German Film Office, an initiative of the Goethe-Institut and German Films. On August 27 at 7pm, the Goethe-Institut New York will host Wohlatz for a screening of EL FUTURO PERFECTO. For more details visit: <a href="https://www.goethe.de/prj/gfo/en/kal/ver.cfm?event_id=26851621">www.germanfilmoffice.us</a> <br /><br />“Kai, a Taiwanese girl, arrives in Brazil from Argentina after being stood up by her boyfriend. Struggling with the language, she explores the city and meets Fu Ang, a Chinese man who owns an umbrella shop. There, she discovers a box of postcards revealing the story of Xiaoxin, another Chinese girl with a similar journey. Xiaoxin’s story reveals her connection to Fu Ang and a group of Chinese workers whose experiences of labor exploitation, language barriers and cultural clashes echo those of Kai. Wohlatz structures her film via anecdotal conversations, moments of confusion and the crossing paths of different characters, reflecting the protagonists’ sense of uncertainty and displacement. This co-production between Argentina, Brazil, Taiwan and Germany portrays characters navigating their way between languages, countries and cultures, creating a psychological non-place along the way and exploring the rare connections and unexpected bonds formed by their movements.” –Diego Lerer, VIENNALE<br /><br />“‘Will I smell normal again when I return home?’ asks Fu Ang, terrified of losing his identity after many years living in Brazil. His fears are shared by two of the film’s other protagonists, the broken traveler Kai and young Xiaoxin. Individually and as a group, they illustrate the lives of people who have given up their roots in order to wander the liminal spaces of a globalized world with a feeling that they don’t belong anywhere. Enchanting and funny, SLEEP WITH YOUR EYES OPEN disrupts the artificial framework of cinematic narrative and, under a blazing sun, brings to life a subdued emotional landscape in which the wheels of buses turn in different directions and fleeting moments of understanding become islands in a sea full of sharks.” –Vojtěch Kočárník, KARLOVY VARY FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60040 <p>Three segments demonstrate how public television and broadcast media were claimed as a vehicle for exercising Black autonomy over communication, representation, organizing, and mass education. “Black Journal” (1968-1977) was the first nationally televised public affairs program to focus on Black people under the direction of Black media workers. Under the leadership of William Greaves and the collaborative network of documentarians and artists, it prioritized independence and self-determination, covering political, cultural, economic, and social topics with international breadth, while also inventing a format copied by mainstream broadcast networks which continues to have an influence on Black documentary practice. “Black Television” includes episodes of “Black Journal” (made for the fourth and seventh anniversaries of the assassination of Malcolm X); Madeleine Anderson’s 1967 A TRIBUTE TO MALCOLM X; and the 1972 WHO KILLED MALCOLM? A groundbreaking documentarian and producer, the centenarian Anderson created a multifaceted portrait of Malcolm X through wide-ranging records, asserting the centrality of Betty Shabazz and charting his evolution from early life to American Black Nationalism to an internationalist struggle for human rights – a point reiterated in Malcolm X’s closing address to students in Selma. WHO KILLED MALCOLM? relies on a comparable wealth of visual materials, including testimonies, to sketch a more detailed profile of his life and to probe the questions left around the circumstances of his assassination. Drawing on an indirect lineage from “Black Journal”, the 1990s video collective Black Planet Productions (whose motto was “The Revolution, Televised”) took an experimental approach to toggle between historical impact and contemporary understandings in X 1/2: THE LEGACY OF MALCOLM X.<br /><br />Madeline Anderson<br />A TRIBUTE TO MALCOLM X<br />1967, 16 min, 16mm<br /><br />Black Planet Productions<br />X 1/2: THE LEGACY OF MALCOLM X<br />1994, 45 min, video<br /><br />Black Journal [Episode 51]<br />WHO KILLED MALCOLM?<br />1972, 45 min, video<br /><br />Total running time: ca. 110 min.<br /><br /><strong>This program will be free of charge / suggested donation. Advance tickets are available for a suggested donation cost of $8, or will be available at the box office during the evening of each screening for free, or for whatever donation amount audience members wish.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60043 <p>A selection of experimental films, unedited materials, and surveillance footage critically address the commodification and misuse of Malcolm X as a caricatured image and symbolic currency. FABRICATED IMAGES shows how audiovisual media have been rerouted as a means of authenticating and upholding an oppositional record aligned with his political ends. Although initially part of the LAPD’s own recordkeeping, once released and recirculated, the footage of the MALCOLM X PRESS CONFERENCE ON DEADLY POLICE RAID IN LOS ANGELES (1962) shows the malleability of visual records – the 16mm reel now operating as a way to remember and transmit his condemnation of the murder of Ronald Stokes and wounding of six other worshipers outside a mosque. Ken Jacobs works with what he called “the out-takes of history” – unedited and discarded newscast found footage – to unmask the mechanisms of TV media in the slyly-titled PERFECT FILM (1984), relaying the immediate reactions to Malcolm X’s assassination. Pantomiming the style of MTV, the band X-PRZ (ft. Tony Cokes) critiques the appropriation of Malcolm X’s image to the ends of profit-driven commercial culture through an effective mix of archival images, musical samples, and desktop video technology. Similarly, X – THE BABY CINEMA by Robert Banks deftly uses 35mm celluloid to create an analytical collage exposing the mechanics of power in the visual memory of Malcolm X. Cinéma engagé practitioner Edouard de Laurot collaborated with the Black Panther Party to create the combative, cinematic pamphlet initially titled BLACK LIBERATION, before the pressures of censorship forced a change to SILENT REVOLUTION. A formally agitated call to arms, Malcolm X is claimed to have also been involved behind the camera – which would make this a rare, directly authored piece of his cinematic existence.<br /><br />MALCOLM X PRESS CONFERENCE ON DEADLY POLICE RAID IN LOS ANGELES (1962, 10 min, 16mm-to-digital)<br />Ken Jacobs PERFECT FILM (1985, 24 min, 16mm)<br />X-PRZ [Tony Cokes, Doug Anderson, Kenseth Armstead, and Mark Pierson] NO SELL OUT… OR I WNT 2 B TH ULTIMATE COMMODITY/ MACHINE (MALCOLM X PT. 2) (1995, 5 min, digital)<br />Robert Banks X – THE BABY CINEMA (1992, 4 min, 16mm)<br />Edouard de Laurot BLACK LIBERATION / SILENT REVOLUTION (1967, 37 min, 16mm-to-DCP)<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> Friday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59994 <p>For September’s screening, we’re teaming up with our piggy pals at Folsom Street East to present a program of short documentaries about men who enrich their lives through the exploration of fetish and kink. These films balance the whimsy, joy, and eroticism with which their subjects approach leather, BDSM, and more against provocative questions about masculinity, politics, desire, and relationships.<br /><br />Sterling Hampton IV’s MERMAN is a portrait of a Black leather titleholder in Los Angeles who finds freedom in both leather gear and a mermaid tail. THE HANDYMAN is an erotically-charged music video for a little-known C+C Music Factory song starring Brazilian director Fábio Leal’s current obsession: his handyman. In THE EDDIES, director Angelo Madsen cruises underground tunnels in Memphis by day, but spends his nights on Craigslist M4M looking for a uniquely American type of fetish scene. Kink-community organizer and artist Peter Cage’s BREAKFAST TIME features the director discussing his relationship with a dominant who insists he prepare his breakfast in a very unusual way. Closing the evening is Carson Parish’s MR. BOUND & GAGGED, an epic portrait of Bob Wingate and Lee Clauss, who together spread their love of BDSM (and each other) to the masses for over thirty years through their seminal pornographic publication Bound & Gagged. Twenty years later, the two New Yorkers visit Chicago to go through their personal collections at the Leather Archives & Museum (LA&M), where they rediscover troves of stories from their lives making porn.<br /><br />Stick around after the screening for a Q&A with directors Carson Parish, Peter Cage, and Angelo Madsen, and some surprise guests.<br /><br />Sterling Hampton IV MERMAN (2023, 11 min, digital)<br />Fábio Leal THE HANDYMAN / O FAZ-TUDO (2025, 6 min, digital)<br />Angelo Madsen THE EDDIES (2018, 16 min, digital)<br />Peter Cage BREAKFAST TIME (2025, 18 min, digital)<br />Carson Parish MR. BOUND & GAGGED (2025, 35 min, digital)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60046 <p>For Malcolm X – as for many Black revolutionaries – prison was a university. Held captive in a structure of unmediated, punitive state violence, he converted to Islam and entered into a dedicated period of self-education and study, reading widely, unlearning the world taught by white supremacy and catalyzing spiritual, intellectual, and political evolution. Although he did not have an espoused abolitionized platform, his fierce opposition to the racialized brutality of policing and coercive state power draws a clear connection to that dimension of struggle. “Unlearning Prisons” pairs two documentaries that interweave the fight against the carceral state and the centrality of education. Although the magnitude of his contributions is far less known, the radical bookstore owner turned jailhouse lawyer at the center of FRAME-UP! THE IMPRISONMENT OF MARTIN SOSTRE emerges as a parallel to Malcolm X – in their shared dedication to Black Liberation, political education, and internationalist anti-imperialism. Sostre was also at one point involved with the Nation of Islam, and along with an incarcerated comrade, once appealed to Malcolm X to testify in their trial. He was imprisoned at Attica in 1967, where a historic prisoner rebellion took place only a few years later in 1971, forming the subject of TEACH OUR CHILDREN. Choy and Robeson’s film documents the insurgency and interviews those incarcerated there, tracing the development of a broader prisoners’ rights movement and development of an anti-carceral abolitionism to which Sostre contributed hugely.<br /><br />Steven Fischler, Joel Sucher, and Howard Blatt<br />FRAME-UP! THE IMPRISONMENT OF MARTIN SOSTRE<br />1974, 30 min, 16mm-to-digital<br /><br />Christine Choy & Susan Robeson<br />TEACH OUR CHILDREN<br />1974, 35 min, 16mm-to-digital<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> Friday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60049 <p>Malcolm X was always both a student and a teacher. From his self-education in prison to the transformation of his religious and ideological beliefs to his clear statement at the founding of the Organization of Afro-American Unity – “Education is an important element in the struggle for human rights” – he consistently embodied and encouraged learning in the broadest terms. He objected to miseducation by the American system which fostered violent injustice and racialized inferiority, instead calling for a political awakening and cultural revolution based on a different kind of learning. Black people needed to know their history, access and safeguard their collective memory, and understand the system of oppression they were within before acting to undo it. Aisha al-Adawiya is a formidable community leader and organizer for whom Malcolm served as indirect teacher: hearing him speak at a rally in the1960s brought her to Islam and compelled her towards a path of movement building, collective transformation, and liberatory education. Hisham Aïdi and Sophie Schrago’s SISTER AISHA: QUEEN MOTHER OF HARLEM chronicles a life of service, consistently pushing anti-imperial efforts to end wars and standing in solidarity with Palestinian liberation, organizing against policing, and working for 30 years at the Schomburg Center for Research in Black Culture. In the documentary, poet Sonia Sanchez fittingly compares Sister Aisha to Queen Mother Moore. TWO GODS (2020) traces kindred bonds of mentorship on a quiet scale, centered on Hanif, a Black Muslim casket maker and body washer in New Jersey. Nurturing spiritual peace through his faith and care for the dead, Hanif also mentors two adolescent boys, Furquan and Naz, passing on what he learned in his life to guide theirs. The nature of Hanif’s work also evokes the perpetual sense of mourning and grief which suffuses the remembrance of Malcolm X.<br /><br />Zeshawn Ali<br />TWO GODS<br />2020, 82 min, DCP<br /><br />Hisham Aïdi & Sophie Schrago<br />SISTER AISHA: QUEEN MOTHER OF HARLEM<br />2024, 47 min, DCP<br /><br />Total running time: ca. 135 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59988 <p>This year brought the tragic news of the untimely death of experimental filmmaker Tomonari Nishikawa, who passed away in April at the age of 55. Nishikawa came relatively late to avant-garde cinema (after first studying Economics, and then working odd jobs in Japan, Australia, Canada, and the U.S.). But, as the countless testimonies that have emerged in the wake of his death attest, he quickly became an indispensable, invaluable, and widely admired figure in contemporary experimental cinema, thanks both to his extraordinary body of work – which ranks among the truly exceptional contributions to 21st century avant-garde cinema – and to his role as a teacher, colleague, and mentor at Binghamton University, where (following in the footsteps of earlier faculty members such as Larry Gottheim, Ken Jacobs, Ernie Gehr, and Vincent Grenier) he proved to be equally gifted at supporting and nurturing students and fellow teachers alike.<br /><br />It's his body of work, though, that will live on most vividly. Shot mostly on Super-8 and 16mm, his films’ rich textures, rhythmic dynamism, and evocative imagery create a quality of quiet rapture, while his mastery of film technique – and in particular his astounding facility for in-camera editing and superimposition – is worthy of filmmakers like Gregory Markopoulos, Robert Beavers, and Stan Brakhage. Nishikawa continued to expand his practice over the years, turning to digital media as well as live projector performances, proving himself to be an artist whose search for new formal discoveries was ever ongoing.<br /><br />To celebrate Nishikawa, Anthology joins forces with Tomonari’s wife, Miki Nishikawa, his friends and colleagues Sofia Theodore-Pierce and Daïchi Saïto, and Prismatic Ground, for a comprehensive survey of his film and video work.<br /><br />Co-presented by Prismatic Ground.<br /><br />PROGRAM 1:<br />APOLLO (2003, 6 min, 16mm)<br />MARKET STREET (2005, 5 min, 16mm, silent)<br />CLEAR BLUE SKY (2006, 4 min, digital)<br />SKETCH FILM #1-5 (2005-07, 15 min, Super-8mm, silent)<br />INTO THE MASS (2007, 6 min, double projection 16mm, silent)<br />16-18-4 (2008, 2.5 min, 35mm, silent)<br />LUMPHINI 2552 (2009, 3 min, 35mm)<br />TOKYO – EBISU (2010, 5 min, 16mm)<br />SHIBUYA – TOKYO (2010, 10 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, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59991 <p>This year brought the tragic news of the untimely death of experimental filmmaker Tomonari Nishikawa, who passed away in April at the age of 55. Nishikawa came relatively late to avant-garde cinema (after first studying Economics, and then working odd jobs in Japan, Australia, Canada, and the U.S.). But, as the countless testimonies that have emerged in the wake of his death attest, he quickly became an indispensable, invaluable, and widely admired figure in contemporary experimental cinema, thanks both to his extraordinary body of work – which ranks among the truly exceptional contributions to 21st century avant-garde cinema – and to his role as a teacher, colleague, and mentor at Binghamton University, where (following in the footsteps of earlier faculty members such as Larry Gottheim, Ken Jacobs, Ernie Gehr, and Vincent Grenier) he proved to be equally gifted at supporting and nurturing students and fellow teachers alike.<br /><br />It's his body of work, though, that will live on most vividly. Shot mostly on Super-8 and 16mm, his films’ rich textures, rhythmic dynamism, and evocative imagery create a quality of quiet rapture, while his mastery of film technique – and in particular his astounding facility for in-camera editing and superimposition – is worthy of filmmakers like Gregory Markopoulos, Robert Beavers, and Stan Brakhage. Nishikawa continued to expand his practice over the years, turning to digital media as well as live projector performances, proving himself to be an artist whose search for new formal discoveries was ever ongoing.<br /><br />To celebrate Nishikawa, Anthology joins forces with Tomonari’s wife, Miki Nishikawa, his friends and colleagues Sofia Theodore-Pierce and Daïchi Saïto, and Prismatic Ground, for a comprehensive survey of his film and video work.<br /><br />Co-presented by Prismatic Ground.<br /><br />PROGRAM 2:<br />45 7 BROADWAY (2013, 5 min, 16mm)<br />SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS (2014, 2 min, 35mm)<br />MANHATTAN ONE TWO THREE FOUR (2014, 3 min, Super-8mm, silent)<br />LUMINOUS VEIL (2016, 6 min, Super-16mm-to-digital)<br />TEN MORNINGS TEN EVENINGS AND ONE HORIZON (2016, 10 min, 16mm)<br />AMUSEMENT RIDE (2019, 6 min, 16mm)<br />TRAFIC (2021, 6.5 min, 16mm-to-digital)<br />MAGNETIC POINT (2023, 6 min, Super-16mm-to-digital)<br />LIGHT, NOISE, SMOKE, AND LIGHT, NOISE, SMOKE (2023, 6 min, 16mm)<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, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60052 <p>Just before his life was cut short – and not by coincidence – Malcolm X had internationalized his vision of the struggle against domination and discrimination. He unmasked the façade of democracy draped over U.S. imperial hegemony, keenly understanding white supremacy as an architecture of global power in the context of the Cold War and Civil Rights movement, anti-communism, and the endless predation of capitalism. The solution was the transnational interdependence of all colonized and oppressed peoples. MALCOLM X: STRUGGLE FOR FREEDOM is a capsule of how this Third-Worldist perspective consolidated only months before his assassination, during a period of travels to Mecca, Africa, and Europe. Opening with an internationalist newsreel montage by photographer John Taylor, the documentary sees Malcolm X in Paris at a critical juncture. It was made by Lebert “Sandy” Bethune, a Jamaican poet, educator, and documentary filmmaker who worked in an orbit of Black writers, artists, and thinkers linked to Négritude and revolutionary militancy. Crucially filling out the picture of Malcolm X’s ties to the African continent and Sudan in particular, MALCOLM X AND THE SUDANESE draws from his exchanges with economist Ahmed Siddig Osman. After meeting in Harlem in 1962, Osman made the arrangements for his Hajj to Mecca and influenced his shift to Sunni Islam. The documentary is a rare glimpse into his evolving spiritual life and political thought within a Pan-African historical memory. MALCOLM X SPEAKS (1971) frames this final stage within the story of his life – the Nebraska childhood that preceded the young city-hopping Malcolm X, incarceration and conversion, and his entry and exit from the Nation of Islam – before movingly closing by intertwining Betty Shabazz and their children. Together, the three documentaries of “You Remember Internationalism” form a cinematic historical memory of how he came to be, a prismatic perspective on the Malcolm X who stood in solidarity with Palestinian Liberation, the Mau Mau rebellion in Kenya, the Cuban Revolution, and the anti-colonial efforts of the Vietnamese and Algerian peoples.<br /><br />Sophie Schrago<br />MALCOLM X AND THE SUDANESE<br />2020, 26 min, DCP<br /><br />Charles Hobson<br />MALCOLM X SPEAKS<br />1971, 44 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts, with funding from the National Film Preservation Foundation.<br /><br />Lebert Bethune<br />MALCOLM X: STRUGGLE FOR FREEDOM<br />1967, 22 min, 16mm. Preserved by the Reserve Film and Video Collection of The New York Public Library for the Performing Arts, with funding from the National Film Preservation Foundation.<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> Saturday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59989 <p>This year brought the tragic news of the untimely death of experimental filmmaker Tomonari Nishikawa, who passed away in April at the age of 55. Nishikawa came relatively late to avant-garde cinema (after first studying Economics, and then working odd jobs in Japan, Australia, Canada, and the U.S.). But, as the countless testimonies that have emerged in the wake of his death attest, he quickly became an indispensable, invaluable, and widely admired figure in contemporary experimental cinema, thanks both to his extraordinary body of work – which ranks among the truly exceptional contributions to 21st century avant-garde cinema – and to his role as a teacher, colleague, and mentor at Binghamton University, where (following in the footsteps of earlier faculty members such as Larry Gottheim, Ken Jacobs, Ernie Gehr, and Vincent Grenier) he proved to be equally gifted at supporting and nurturing students and fellow teachers alike.<br /><br />It's his body of work, though, that will live on most vividly. Shot mostly on Super-8 and 16mm, his films’ rich textures, rhythmic dynamism, and evocative imagery create a quality of quiet rapture, while his mastery of film technique – and in particular his astounding facility for in-camera editing and superimposition – is worthy of filmmakers like Gregory Markopoulos, Robert Beavers, and Stan Brakhage. Nishikawa continued to expand his practice over the years, turning to digital media as well as live projector performances, proving himself to be an artist whose search for new formal discoveries was ever ongoing.<br /><br />To celebrate Nishikawa, Anthology joins forces with Tomonari’s wife, Miki Nishikawa, his friends and colleagues Sofia Theodore-Pierce and Daïchi Saïto, and Prismatic Ground, for a comprehensive survey of his film and video work.<br /><br />Co-presented by Prismatic Ground.<br /><br />PROGRAM 1:<br />APOLLO (2003, 6 min, 16mm)<br />MARKET STREET (2005, 5 min, 16mm, silent)<br />CLEAR BLUE SKY (2006, 4 min, digital)<br />SKETCH FILM #1-5 (2005-07, 15 min, Super-8mm, silent)<br />INTO THE MASS (2007, 6 min, double projection 16mm, silent)<br />16-18-4 (2008, 2.5 min, 35mm, silent)<br />LUMPHINI 2552 (2009, 3 min, 35mm)<br />TOKYO – EBISU (2010, 5 min, 16mm)<br />SHIBUYA – TOKYO (2010, 10 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> Sunday, September 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60055 <p>Through the flames of a cleansing fire, the Black migrant worker and protagonist of SOLEIL Ô (1970) sees a portrait of Malcolm X, conjured next to those of Patrice Lumumba, Che Guevara, and Mehdi Ben Barka. The Mauritanian filmmaker Med Hondo was part of the swell of Third Worldist and Pan-African filmmaking of the 1960s and 1970s, a global circuit of cinematic reckonings with labor, empire, migration, and colonization. With his incendiary debut feature, he directly analyzed and condemned the conditions of immigrant African labor in Europe in an audiovisual assault against domination told through a fragmented patchwork of allegory, Marxist theory, psychic alienation, and autobiographical experience. Hondo – who loathed Spike Lee’s biopic and loved Amiri Baraka’s critique of it – ended his eruptively militant, jaggedly stylized, and caustically funny experimental film by placing Malcolm X amongst a cadre of Third World revolutionary leaders. The final vision of SOLEIL Ô condensed the breathtaking cinematic polemic into a visual political compass, cementing a call to arms for an international rebellion against all forms of exploitation under colonialism, imperialism, and capitalism.<br /><br />Med Hondo<br />SOLEIL Ô<br />1970, 102 min, 35mm-to-DCP. In French and Arabic with English subtitles.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, September 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59992 <p>This year brought the tragic news of the untimely death of experimental filmmaker Tomonari Nishikawa, who passed away in April at the age of 55. Nishikawa came relatively late to avant-garde cinema (after first studying Economics, and then working odd jobs in Japan, Australia, Canada, and the U.S.). But, as the countless testimonies that have emerged in the wake of his death attest, he quickly became an indispensable, invaluable, and widely admired figure in contemporary experimental cinema, thanks both to his extraordinary body of work – which ranks among the truly exceptional contributions to 21st century avant-garde cinema – and to his role as a teacher, colleague, and mentor at Binghamton University, where (following in the footsteps of earlier faculty members such as Larry Gottheim, Ken Jacobs, Ernie Gehr, and Vincent Grenier) he proved to be equally gifted at supporting and nurturing students and fellow teachers alike.<br /><br />It's his body of work, though, that will live on most vividly. Shot mostly on Super-8 and 16mm, his films’ rich textures, rhythmic dynamism, and evocative imagery create a quality of quiet rapture, while his mastery of film technique – and in particular his astounding facility for in-camera editing and superimposition – is worthy of filmmakers like Gregory Markopoulos, Robert Beavers, and Stan Brakhage. Nishikawa continued to expand his practice over the years, turning to digital media as well as live projector performances, proving himself to be an artist whose search for new formal discoveries was ever ongoing.<br /><br />To celebrate Nishikawa, Anthology joins forces with Tomonari’s wife, Miki Nishikawa, his friends and colleagues Sofia Theodore-Pierce and Daïchi Saïto, and Prismatic Ground, for a comprehensive survey of his film and video work.<br /><br />Co-presented by Prismatic Ground.<br /><br />PROGRAM 2:<br />45 7 BROADWAY (2013, 5 min, 16mm)<br />SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS (2014, 2 min, 35mm)<br />MANHATTAN ONE TWO THREE FOUR (2014, 3 min, Super-8mm, silent)<br />LUMINOUS VEIL (2016, 6 min, Super-16mm-to-digital)<br />TEN MORNINGS TEN EVENINGS AND ONE HORIZON (2016, 10 min, 16mm)<br />AMUSEMENT RIDE (2019, 6 min, 16mm)<br />TRAFIC (2021, 6.5 min, 16mm-to-digital)<br />MAGNETIC POINT (2023, 6 min, Super-16mm-to-digital)<br />LIGHT, NOISE, SMOKE, AND LIGHT, NOISE, SMOKE (2023, 6 min, 16mm)<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> Sunday, September 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60058 <p>It would be difficult to overstate the impact, popularity, and readership of “The Autobiography of Malcolm X”, which was published the same year as his assassination, and became the primary source material for numerous filmic adaptations and unfulfilled scripts (notably, one by James Baldwin). At once a classic of the genre and a break with convention, it was co-authored with a journalist, delivered “as told to Alex Haley.” The text is therefore a mirror and a mask, a first-person narrative written by a second person, an exercise in mythmaking and collaborative creation that gets closer to the process of filmmaking than it might have otherwise. Arnold Perl’s 1972 MALCOLM X: HIS OWN STORY AS IT REALLY HAPPENED – which benefited from the advisory role of Malcolm X’s widow Betty Shabazz – is guided by James Earl Jones reading from the text. The documentary like the book is haunted by loss: after Arnold Perl passed away during the editing, it was completed by producer Nancy Reals Perl, his widow. A rich compilation of newsreel footage, speeches, interviews, and contextual archival material, MALCOLM X: HIS OWN STORY AS IT REALLY HAPPENED maps out the transformational arc from Malcolm Little to el-Hajj Malik el-Shabazz, opening with Billie Holiday’s “Strange Fruit”, which sets a tone of mourning as the precursor to a life of militancy.<br /><br />Arnold Perl<br />MALCOLM X: HIS OWN STORY AS IT REALLY HAPPENED<br />1972, 91 min, 35mm-to-DCP<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, September 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60061 <p>Malcolm X and Martin Luther King, Jr. are often presented as two opposing sides of Black Liberation: self-defense and separatism vs. non-violence and integration. Both assassinated at age 39 following a political turning point, they also share the fate of having their individual and related legacies oversimplified and defanged. Bill Duke’s THE MEETING (1989), adapted from a 1987 one-act play by Jeff Stetson, attempts to stage a more complex picture through a speculative, covert exchange that takes place in a Harlem hotel room. A few years earlier, Duke had made his feature debut with THE KILLING FLOOR (1984), a jolting and lucid account of interracial labor organizing in Chicago’s stockyards leading up to the 1919 Race Riot. His process of careful research and consciousness of class struggle also inform this later film. Couched in an ensnaring atmosphere of tension and palpable danger, THE MEETING is set on February 14, 1965, in the immediate aftermath of the firebombing of Malcolm X’s home – which occurred while he, Betty Shabazz, and their four young daughters were inside – and exactly a week before his assassination. Though the imagined conversation between Malcolm and MLK sometimes teeters into an overly schematic compare-and-contrast that is too on the nose (they do arm wrestle), the film strives towards clarity of political philosophies and psychological nuance. The cramped space of a hotel room becomes an expanded theatrical container for the riveting and peculiar historical “what-if” of an unmediated conversation between the two leaders.<br /><br />Bill Duke<br />AMERICAN PLAYHOUSE: THE MEETING<br />1989, 74 min, video. Courtesy of the Peabody Awards Collection, University of Georgia Libraries.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-59999 <p>In the mid-1990s, filmmaker Jem Cohen sent an unsolicited VHS tape of his recently-completed film BURIED IN LIGHT (1994) to Robert Frank and June Leaf, and was shocked to receive a heartfelt and substantive handwritten letter in response. This exchange blossomed into a decades-long friendship, with Leaf in particular, that proved vitally important to Cohen. Over the years, he filmed Leaf intermittently, resulting in a collection of moving-image material (ultimately destined to comprise a feature film) that documents Leaf’s work and personality with extraordinary elegance, sensitivity, and insight. Capturing Leaf’s artistic process, her searching intelligence, her wit, and the extraordinary artwork that is her studio itself, and aglow with the friendship between Cohen and Leaf, these short films add up to not only a lovely filmic portrait of a particular artist but one of the finest of all documents of an artist at work. This evening Cohen will present a selection of excerpts from his work-in-progress project about June Leaf.<br /><br />Total running time: ca. 70 min, plus panel discussion.<br /><br /><em><strong>This program will be followed by a panel discussion about June Leaf’s life and work, with Alice Attie, Jem Cohen, Sara Driver, and Laura Israel.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60064 <p>A triptych portrait, the NET-produced public television special THE NEGRO AND THE AMERICAN PROMISE (1963) presents Malcolm X, Martin Luther King, Jr., and James Baldwin as the three faces of the Civil Rights movement. Educator and psychologist Kenneth Clark acts as host, setting the discursive scene around “the racial confrontation in America,” interspersed with contextual documentary footage. The three guests are each interviewed separately, filmed in tight close-up, emphasizing an organizational logic in which the program focuses on their points of difference, as they touch on organizing strategies, morality, governance, religious ideologies, and childhood. Establishing a hefty historical record, the program productively sequences Malcolm X, Martin Luther King, Jr., and James Baldwin as witnesses and engineers of an at-once unchanging and transforming national landscape.<br /><br />Fred Barzyk<br />THE NEGRO AND THE AMERICAN PROMISE<br />1963, 59 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts, with funding from the National Film Preservation Foundation.<br /><br /><strong>This program will be free of charge / suggested donation. Advance tickets are available for a suggested donation cost of $8, or will be available at the box office during the evening of each screening for free, or for whatever donation amount audience members wish.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60067 <p>Both places where Malcolm X made his mark, Mississippi and Chicago, are the coordinates of a historical and geographic trajectory of Black life in the U.S. – the Great Migration, the SNCC, the Black Panther Party, violence, kinships, survival, and struggle. From the work of photographer Harvey Richards, WE’LL NEVER TURN BACK (1963) collects the testimonies of sharecroppers and voter registration activists (including the extraordinary community organizer and civil rights leader Fannie Lou Hamer) as a crucial record of the motivations and stakes of the struggle to access avenues of political participation. The documentary is a crucial record of the immense danger and violence experienced by sharecropping communities in the South – threats, intimidation, retaliation in employment and housing, beatings and murder – and their efforts to oppose it. Two years later, in 1965, Malcolm X would deliver his “Advice to the Youth of Mississippi” speech, naming the enemy depriving Black people of their rights, and prescribing a plan of action: “Treat them like that and fight them, and you’ll get your freedom.” During a 1969 speech on Malcolm X’s birthday, Fred Hampton praised how he modelled “constructive, revolutionary criticism.” Hampton was a fellow electrifying speaker, galvanizing leader, and martyr of Black Liberation. Initially intended as a chronicle of the Illinois chapter of the Black Panther Party by Howard Alk of The Film Group, the documentary took an investigative turn at the crossroads of Hampton’s assassination, orchestrated as a police raid implicated with FBI counterinsurgency. Entering the scene in the early aftermath, THE MURDER OF FRED HAMPTON (1971) brings together Hampton’s powerful leadership and the BPP’s extensive organizing for self-governance with an exposé of brutal suppression. Each of the films in “Mississippi to Chicago” expose the dialectic of insurgency and repression, offering a way to remember Malcolm X within a network of organizers, revolutionaries, and everyday people.<br /><br />Harvey Richards<br />WE’LL NEVER TURN BACK<br />1963, 29 min, 16mm-to-DCP<br /><br />Howard Alk<br />THE MURDER OF FRED HAMPTON<br />1971, 88 min, 35mm. Photochemically preserved in 2017 by the UCLA Film & Television Archive. 35mm print courtesy of Chicago Film Archives.<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2025#showing-60038 <p>The cultural impact of Malcolm X has proven immense: his assassination marked the birth of the 1960s-70s Black Arts Movement, he became the central icon of 1980s-90s hip-hop, and he has continued to inspire and influence artmaking across every medium. His rhetoric is remixed as rap in documentarian Dick Fontaine’s MALCOLM X: NO SELL OUT (1984) music video, made with Pat Harley. Magicians in an experimental laboratory, artists and filmmakers John Akomfrah and Jenn Nkiru reveal how the intertwinement of aesthetics and politics function to re-author a self-determined Black history. Nkiru’s mesmerizing REBIRTH IS NECESSARY features a trio of NOI women performing a brief salute within a constellation of references points – James Baldwin, Alice Coltrane, Kwame Nkrumah, Kathleen Cleaver, Sun Ra – which converge and collide in a vision of Blackness across time. Made while Akomfrah was a member of the Black Audio Film Collective, the multi-voiced testimony of SEVEN SONGS FOR MALCOLM X (1993) includes Betty Shabazz, Greg Tate, and Thulani Davis in a knotted study of memory making, fusing the mobility of jazz and the sculptural stillness of photography. As historical retellings, they each layer and remix the cultural narrative and aesthetic imprint of Malcolm X.<br /><br />Dick Fontaine MALCOLM X: NO SELL OUT (1984, 6 min, video)<br /><br />Jenn Nkiru REBIRTH IS NECESSARY (2017, 10 min, digital)<br /><br />John Akomfrah<br />SEVEN SONGS FOR MALCOLM X<br />1993, 52 min, video<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, September 16