Anthology Film Archives Film Program, Volume 46 No. 1, January–March 2016
Anthology Film Archives Film Program is published quarterly by Anthology Film Archives, 32 Second Avenue, NY, NY 10003
Subscription is free with Membership to Anthology Film Archives, or $15/year for non-members.
Cover: Sara Greenberger Rafferty, Anthology Film Archives January – March 2016, 2015.
STAFF
Jonas Mekas, Artistic Director
John Mhiripiri, Director
Jed Rapfogel, Film Programmer, Theater Manager
Ava Tews, Director of Publicity & Membership
Wendy Dorsett, Director of Publications
Hannah Greenberg, Development Associate, Theater Manager
COLLECTIONS STAFF
John Klacsmann, Archivist
Lily Jue Sheng, Project Technician
Andy Lauer, Project Specialist
Robert A. Haller, Director Emeritus, Special Collections
THEATER STAFF
Kolbe Resnick, Head Theater Manager & Print Traffic
Cait Carvalho, Theater Manager
Bradley Eros, Theater Manager
Christopher Nazzaro, Theater Manager
Phillip Gerson, Assistant Manager
Rachelle Rahme, Assistant Manager
PROJECTIONISTS
Jennifer Barton, Lili Chin, Chris Crouse, Evelyn Emile, Ted Fendt,
Sarah Halpern, Genevieve Havemeyer-King, Chris Jolly,
Isaac Overcast, Matt Reichard, Moira Tierney, Schuyler Tsuda,
Alex Westhelle, Tim White.
BOX OFFICE
Josh Anderson, Micah Gottlieb, Rachael Guma, Bora Kim,
Marcine Miller, Camila Rodriguez, Fiona Szende, Alan Wertz.
BOARD OF TRUSTEES
Robert T. Buck, Jr.
Jonas Mekas, President
Oona Mekas, Treasurer
John Mhiripiri, Secretary
Barney Oldfield, Chair
Matthew Press
Arturas Zuokas
HONORARY BOARD
agnès b., Brigitte Cornand, Annette Michelson.
In memoriam: Nam June Paik (1932-2006),
Louise Bourgeois (1911-2010), Robert Gardner
(1925-2014).
BOARD OF ADVISORS
Richard Barone, Deborah Bell, Rachel Chodorov,
Deborah M. Colton, Ben Foster, Roselee Goldberg,
Timothy Greenfield-Sanders, Ali Hossaini, Akiko Iimura,
Andrew Lampert, Susan McGuirk, Sebastian Mekas,
Sara L. Meyerson, Benn Northover, Izhar Patkin, Ted
Perry, Ikkan Sanada, Ingrid Scheib-Rothbart, Lola
Schnabel, Stella Schnabel, P. Adams Sitney, Marvin
Soloway, Hedda Szmulewicz.
COMPOSER IN RESIDENCE
John Zorn
New Filmmakers Coordinators
Barney Oldfield, Executive Producer
Bill Woods, Program Director
Interns & Volunteers: Bianca Amato, Steve Erickson, Ridah Farooqui, Sam Fleischner, Carolyn Funk, Timothy Geraghty, Martina
Kudláček, Jun Kuromiya, Jeanne Liotta, Bibi Loizzo, Jonas Lozoraitis, Traci Mark, Shannon McLachlan, Sean Nam, Melinda Shopsin,
Hilary Steadman, Auguste Varkalis, Eva von Schweinitz, Andreas Wilson.
Anthology Film Archives is a 501(c)(3) non-profit organization, and is supported in part by the agnès b. Endowment Fund, Andrea
Frank Foundation, Andy Warhol Foundation for the Visual Arts, Austrian Cultural Forum New York, b. forever, Carl Andre and Melissa
Kretschmer Foundation, Cineric, Consulate General of Spain, Criterion, Cultural Services of the French Embassy, David M. Leuschen
Foundation, Driver Family Foundation, Edison Properties, Film Chest Inc/Vinegar Syndrome, The Film Foundation, Ben Foster, George
Lucas Family Foundation, Goethe-Institut New York, Greene Naftali, James M. Guiher, Jerome Foundation, an anonymous donor through
the Jewish Communal Fund, Mike Kelley Foundation for the Arts, National Endowment for the Arts, National Film Preservation Foundation,
public funds from the New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the
Arts with the support of Governor Andrew Cuomo and the New York State Legislature, public funds from NYSCA’s Electronic Media and
Film (EMF) Media Arts Assistance Fund & Presentation Funds, regrant programs administered respectively by Wave Farm & The ARTS
Council of the Southern Finger Lakes, New York Women in Film & Television, Phalarope Foundation, Robert Gore Rifkind Foundation,
Showtime & Sundance Networks, Smells Like Records, Sony Pictures Entertainment, Taipei Cultural Center, Taylor & Taylor Associates, The
Weissman Family Foundation, anonymous donors, and AFA’s individual members and contributors.
ANTHOLOGY FILM ARCHIVES
JANUARY–MARCH 2016
The cover of this issue of Anthology
Film Archives Film Program is by
Sara Greenberger Rafferty, Anthology
Film Archives January – March 2016,
2015.
ESSENTIAL CINEMA
2
PREMIERES
THE MASK
BORN IN FLAMES
WHO’S CRAZY
5
AFA PRESERVATIONS
RE-VISIONS: Bette Gordon,
Lizzie Borden, Charlie Ahearn
6
ONGOING SERIES
Flaherty NYC: Transforming Provocations
SHOW & TELL: Timothy Geraghty,
Tim Burns, Kate McCabe
New York Women in Film & Television
Audio Vérité: Robert Millis INDIAN TALKING
MACHINE
Members-Only: Ingmar Bergman THE RITE
9
SERIES
Through Indian Eyes
13
CALENDAR-AT-A-GLANCE
15-17
SERIES, cont’d
American International Pictures, Part 3
Valentine’s Day Massacre
A Body in Places: Eiko at AFA
19
SPECIAL SCREENINGS
Keywords in Subversive Film/Media Aesthetics
Ken Jacobs / Nervous Magic Lantern Festival
Totally 80s Movie Freak Out
Millennium Film Journal: Polish
Avant-Garde Cinema
Secret Life of AFA
26
NEWFILMMAKERS
FESTIVALS
INDEX
28
31
33
6
10
12
23
24
27
ESSENTIAL CINEMA
EAT
MAN WITH A MOVIE CAMERA
ESSENTIAL CINEMA
A very special series of films screened on a repertory basis, the Essential Cinema Repertory collection consists of 110 programs/330 titles assembled
in 1970-75 by Anthology’s Film Selection Committee – James Broughton, Ken Kelman, Peter Kubelka, P. Adams Sitney, and Jonas Mekas. It was an
ambitious attempt to define the art of cinema. The project was never completed but even in its unfinished state the series provides an uncompromising
critical overview of cinema’s history.
AND REMEMBER: ALL ESSENTIAL CINEMA SCREENINGS ARE FREE FOR AFA MEMBERS!
THE FILMS OF DZIGA VERTOV
“The film drama is the Opium of the people…down with Bourgeois fairytale scenarios…long live life as it is!” – D.V.
MAN WITH A MOVIE CAMERA /
CHELOVEK S KINO-APPARATOM
1929, 104 min, 35mm, b&w, silent
“Little introduction is needed for one of the great masterpieces of world
cinema, Vertov’s extraordinary meditation on then-contemporary Soviet
Russian society and the place of filmmakers within it. A kind of ‘city symphony,’ cataloguing the sights and sounds of urban life, the film is structured across a day, beginning with citizens waking up while machines
are revved up. As Vertov shows us, among the first heading off to work
is the ‘man with the movie camera’, played in the film by his brother
and cameraman Mikhail Kaufman. For Vertov, the camera was a kind of
infinitely more perfect eye: it could offer details and aspects of the world
that might be missed otherwise.” –FILM SOCIETY OF LINCOLN CENTER
–Fri, Jan 29 at 7:30.
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KINO-EYE / KINOGLAZ 1925, 70 min, 16mm, b&w, silent
–Sat, Jan 30 at 4:30.
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FORWARD, SOVIET! / SHAGHAI, SOVIET!
1925-26, 73 min, 35mm, b&w, silent. With Russian intertitles; English synopsis
available.
–Sun, Jan 31 at 4:00.
GREED
1924, 140 min, 35mm, b&w, silent. With Gibson Gowland, ZaSu Pitts, and Jean Hersholt.
“Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED]
is perhaps more famous for the butcher job performed on it than for Stroheim’s great and
genuine accomplishment. Though usually discussed as a masterpiece of realism (it was
based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high
stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to
her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE.
It is probably the most modern in feel of all silent films, establishing ideas that would not be
developed until decades later.” –Dave Kehr, CHICAGO READER
–Fri, Feb 12, Mon, Feb 15, and Thurs, Feb 18 at 7:15 each night.
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WARHOL / WATSON & WEBBER / WHITNEY
Andy Warhol EAT 1963, 35 min, 16mm, b&w, silent
James Sibley Watson & Melville Webber
FALL OF THE HOUSE OF USHER 1928, 13 min, 16mm, b&w, silent
John & James Whitney FILM EXERCISES 1-5 1943-45, 18 min, 16mm
James Whitney LAPIS 1963-66, 10 min, 16mm
Total running time: ca. 80 min.
–Fri, Feb 26 at 7:30.
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ANDY WARHOL
BUFFERIN
1967-68, 33 min, 16mm
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“A portrait film of Gerard Malanga, poet, filmmaker, and studio assistant to Warhol. Malanga
reads his poetry and excerpts from his journals, censoring himself by subtitling the word
‘bufferin’ for people’s names in his texts. Warhol responds by ‘censoring’ Malanga’s performance in turn with his trademark, in camera ‘strobe cut.’ The result is a playful confrontation between Malanga and Warhol and a subtle disclosure of the complexities of their
relationship.” –Callie Angell
1926, 74 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available.
SUNSET
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ENTHUSIASM, OR SYMPHONY OF THE DON BASIN
/ ENTUZIASM: SIMFONIYA DONBASSA
1931, 67 min, 35mm, b&w. In Russian with no subtitles; English synopsis available.
–Thurs, Feb 4 at 7:30.
A SIXTH OF THE WORLD / SHESTAIA CHAST MIRA
–Sat, Feb 6 at 4:00.
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THE ELEVENTH YEAR / ODINNADTSAYI
1928, 60 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available.
–Sun, Feb 7 at 4:00.
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THREE SONGS ABOUT LENIN / TRI PESNI O LENINYE
1934, 60 min, 35mm, b&w. In Russian with no subtitles; English synopsis available.
–Sun, Feb 7 at 5:30.
2
Erich von Stroheim
1967, 33 min, 16mm
“In 1967, Warhol was commissioned by the Texas art patrons Jean and Dominique de
Menil to produce a series of religious films of sunsets for a chapel at the 1968 San Antonio
Hemisfair. Although this project was never completed to Warhol’s satisfaction, this particular
sunset film was shown publicly as one of the reels of **** (FOUR STARS) in December 1967.
Warhol’s film of a California sunset, which is accompanied by an added soundtrack of Nico
intoning her own poetry, bears a marked resemblance to the paintings of Mark Rothko,
whose chapel in Houston was also commissioned by the de Menils.” –Callie Angell
–Sat, Feb 27 at 5:15.
ESSENTIAL CINEMA
CASTRO STREET
KENNETH ANGER
FIREWORKS 1947, 15 min, 16mm-to-35mm, b&w
RABBIT’S MOON 1950-70, 15 min, 35mm
EAUX D’ARTIFICE 1953, 13 min, 16mm
KUSTOM KAR KOMMANDOS
1965, 3 min, 16mm
SCORPIO RISING 1963, 30 min, 16mm
Poetry, psychodrama, and the occult meet in
these timeless works by one of the pioneers of
the American avant-garde film.
Total running time: ca. 80 min.
–Sat, Feb 27 at 7:30.
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BAILLIE / CROCKWELL
Bruce Baillie
MASS FOR THE DAKOTA SIOUX
1963-64, 20 min, 16mm, b&w
QUIXOTE 1964-65, 45 min, 16mm
CASTRO STREET 1966, 10 min, 16mm
ALL MY LIFE 1966, 3 min, 16mm
VALENTIN DE LAS SIERRAS 1968, 10 min,
16mm. Preserved by Anthology Film Archives.
Meditations on America by a filmmaker whom
Willard van Dyke once called the most American of all contemporary filmmakers.
Douglass Crockwell
THE LONG BODIES 1949, 6 min, 16mm
GLENS FALLS SEQUENCE 1964, 8 min, 16mm
Both films preserved by Anthology Film Archives.
“The basic idea was to paint continuing
pictures on various layers with plastic paint,
adding at times and removing at times, and
to a certain extent these early attempts were
successful.” –D.C.
Total running time: ca. 105 min.
–Sun, Feb 28 at 5:15.
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Bruce Baillie
QUICK BILLY
1971, 56 min, 16mm
Bruce Baillie’s journey through “the dark wood
encountered in the middle of life’s journey”
(Dante), with references to Bardo Thodol. A
major work from one of the great poets of
cinema.
Plus:
QUICK BILLY: SIX ROLLS;
14/41/43/46/47/52 1968-69, 16 min, 16mm
Six uncut camera rolls to be shown with QUICK
BILLY. The ‘rolls’ took the form of a correspondence, or theater, between their author and
Stan Brakhage, in the winter of 1968-69.
–Sun, Feb 28 at 7:30.
REFLECTIONS ON BLACK
STAN BRAKHAGE
Unless otherwise noted, all films are silent.
DESISTFILM 1954, 7 min, 16mm, b&w, sound
REFLECTIONS ON BLACK 1955, 12 min, 16mm, b&w, sound.
Preserved by Anthology Film Archives.
THE WONDER RING 1955, 4 min, 16mm
FLESH OF MORNING 1956, 25 min, 16mm, b&w
DAYBREAK AND WHITEYE 1957, 8 min, 16mm
WINDOW WATER BABY MOVING 1959, 12 min, 16mm.
Preserved by Anthology Film Archives.
Films made during the early, “psychodramatic” period of one of modern cinema’s greatest innovators, including two of his early experiments with sound.
Total running time: ca. 75 min.
–Thurs, Mar 3 at 7:30.
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STAN BRAKHAGE
Unless otherwise noted, all films are silent.
ANTICIPATION OF THE NIGHT
1958, 40 min, 16mm. Preserved by Anthology Film Archives.
CAT’S CRADLE 1959, 6 min, 16mm
SIRIUS REMEMBERED 1959, 12 min, 16mm
THE DEAD 1960, 11 min, 16mm
THIGH LINE LYRE TRIANGULAR 1961, 9 min, 16mm
MOTHLIGHT 1963, 4 min, 16mm. Preserved by Anthology Film Archives.
BLUE MOSES 1963, 11 min, 16mm, b&w, sound
With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama
and enters the “closed-eye vision” period. This program also contains
a unique example of a film made without a camera, MOTHLIGHT, and
one of Brakhage’s few sound (and ‘acted’) films, BLUE MOSES.
Total running time: ca. 90 min.
–Sat, Mar 5 at 5:30.
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Stan Brakhage
THE ART OF VISION
Stan Brakhage
THE ART OF VISION
1961-65, 261 min, 16mm, silent
“Includes the complete DOG STAR MAN and a
full extension of the singularly visible themes
of it. Inspired by that period of music in which
the word ‘symphonia’ was created and by the
thought that the term, as then, was created to
name the overlap and enmeshing of suites, this
film presents the visual symphony that DOG
STAR MAN can be seen as and also all the suites
of which it is composed. But as it is a film, and
a work of music, the above suggests only one
of the possible approaches to it. For instance, as
‘cinematographer,’ at source, means ‘writer of
movement,’ certain poetic analogies might serve
as well. The form is conditioned by the works
of art which have inspired DOG STAR MAN, its
growth of form by the physiology and experiences (including experiences of art) of the man
who made it. Finally, it must be seen for what it
is.” –Stan Brakhage
–Sun, Mar 6 at 6:00.
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STAN BRAKHAGE
All films are silent.
LOVING 1956, 4 min, 16mm
PASHT 1965, 5 min, 16mm
FIRE OF WATERS 1965, 10 min, 16mm, b&w, sound
THE HORSEMAN, THE WOMAN AND THE
MOTH 1968, 19 min, 16mm
THE WEIR-FALCON SAGA 1970, 29 min, 16mm
SEXUAL MEDITATION #1: MOTEL 1970, 7 min,
16mm. Preserved by Anthology Film Archives.
DOG STAR MAN
SEXUAL MEDITATION: ROOM WITH A VIEW
A masterwork in which all of Brakhage’s techniques achieve a complex synthesis to produce one of cinema’s supreme epic poems.
“The film breathes and is an organic and surging thing…it is a
colossal lyrical adventure-dance of image in every variation of color.”
–Michael McClure, ARTFORUM
THE SHORES OF PHOS: A FABLE
1961-64, 74 min, 16mm, silent
–Sat, Mar 5 at 7:30.
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Stan Brakhage
SONGS 1-14
1964-65, ca. 53 min, 16mm, silent
“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand
painted. SONG 5: A childbirth song. SONG 6: The painted veil via
moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9:
Wedding source and substance. SONG 10: Sitting around. SONG 11:
Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals
and shadows caught in glass traps. SONG 13: A travel song of scenes
and horizontals. SONG 14: Molds, paints and crystals.” –S.B.
–Sun, Mar 6 at 4:15.
1971, 4 min, 16mm, b&w. Preserved by Anthology Film
Archives.
1972, 10 min, 16mm
A selection from some of Brakhage’s most
densely mysterious works.
Total running time: ca. 95 min.
–Thurs, Mar 10 at 7:30.
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Stan Brakhage
THE TEXT OF LIGHT
1974, 67 min, 16mm, silent. Preserved by Anthology Film
Archives.
Brakhage’s tour-de-force exploration of refracted
light in an ashtray.
“All that is, is light.” –Johannes Scotus Erigena
–Sun, Mar 20 at 5:45.
3
ESSENTIAL CINEMA
Brakhage filming EYES
RECREATION
Stan Brakhage
ROBERT BREER, PROGRAM 1
THE PITTSBURGH TRILOGY
Preserved by Anthology Film Archives.
EYES
1970, 36 min, 16mm, silent
“After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’
occupations of our Times – some of the more obscure Public Figures which the average
imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I
was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several
days of September 1970.” –S.B.
DEUS EX
1971, 34 min, 16mm, silent
“I have been many times very ill in hospitals; and I drew on all that experience while
making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by
the memory of one incident in an emergency room of San Francisco’s Mission District:
while waiting for medical help, I had held myself together by reading an April-May 1965
issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had
especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the
poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything.
Which is / not surprising, a person might not, in the circumstances; / or at most a nod or
something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was
Death. And / He certainly was, the moment I saw him.’” –S.B.
THE ACT OF SEEING WITH ONE’S OWN EYES
1971, 32 min, 16mm, silent
“Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture,
the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm
that no one of us may die without our knowing exactly why. All of us, in the person of the
coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton
Total running time: ca. 105 min.
–Sun, Mar 20 at 7:30.
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STAN BRAKHAGE
THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN 1965, 10 min, 16mm
THE MACHINE OF EDEN 1970, 11 min, 16mm
THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm
ANGELS’ 1971, 2 min, 16mm
DOOR 1971, 4 min, 16mm
WESTERN HISTORY 1971, 8 min, 16mm
THE PEACEABLE KINGDOM 1971, 8 min, 16mm
Total running time: ca. 85 min.
–Thurs, Mar 24 at 7:30.
4
With the exception of BREATHING, all of the films in this program were preserved by
Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and
the National Endowment for the Arts.
FORM PHASES I 1952, 2 min, 16mm
FORM PHASES II 1953, 2 min, 16mm
UN MIRACLE 1954, 30 secs, 16mm-to-35mm. Made with Pontus Hulten.
RECREATION 1956, 1.5 min, 16mm-to-35mm
A MAN AND HIS DOG OUT FOR AIR 1957, 2 min, 16mm-to-35mm
JAMESTOWN BALOOS 1957, 6 min, 16mm-to-35mm
LE MOUVEMENT 1957, 14 min, 16mm-to-35mm
EYEWASH 1959, 3 min, 16mm-to-35mm
EYEWASH (ALTERNATIVE VERSION) 1959, 3 min, 16mm-to-35mm
BLAZES 1961, 3 min, 16mm-to-35mm
PAT’S BIRTHDAY 1962, 13 min, 16mm, b&w
BREATHING 1963, 5 min, 35mm, b&w
66 1966, 5.5 min, 16mm-to-35mm
69 1969, 4.5 min, 16mm-to-35mm
The happy, joyful, playful abstractionist of the avant-garde.
Total running time: ca. 70 min.
–Sat, Mar 26 at 5:15.
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ROBERT BREER, PROGRAM 2
With the exception of GULLS AND BUOYS, all of the films in this program were preserved
by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts
and the National Endowment for the Arts.
70 1970, 5 min, 16mm-to-35mm
77 1970, 6.5 min, 16mm-to-35mm
FIST FIGHT 1964, 9 min, 16mm-to-35mm
GULLS AND BUOYS 1972, 8 min, 16mm
FUJI 1974, 9 min, 16mm-to-35mm
SWISS ARMY KNIFE WITH RAT AND PIGEON
1981, 6.5 min, 16mm-to-35mm
BANG 1986, 10 min, 16mm-to-35mm
Total running time: ca. 60 min.
–Sun, Mar 27 at 6:15.
PREMIERES/REVIVALS
THE MASK
BORN IN FLAMES
NYC THEATRICAL PREMIERE OF NEW 3D
RESTORATION!
PREMIERE RUN – NEW 35MM PRESERVATION PRINT!
FILMMAKER IN PERSON!
THE MASK
BORN IN FLAMES
Julian Roffman
1961, 83 min, 35mm-to-DCP, b&w. With Bill Walker, Claudette Nevins, and Paul Stevens.
Distributed by Kino Lorber; special thanks to Gary Palmucci & Jonathan Hertzberg (Kino
Lorber), and Robert Furmanek (3-D Film Archive).
After the shocking death of a disturbed patient, psychiatrist Dr. Allan Barnes
comes into possession of the ancient tribal mask that supposedly drove
the young man to his doom. When Barnes puts on the mask, he is assailed
with nightmarish visions of monsters, occultists, and ritual torture. Believing
that the mask has opened a portal to the deepest recesses of his mind,
the doctor continues to explore this terrifying new psychic world – even as
the mask reveals a latent violence in Barnes’s nature that threatens those
closest to him.
Shot in Toronto on a shoestring budget, THE MASK holds a place in history as the first feature-length Canadian horror movie. It is also a prime
example of 3D cinema, with its predominantly two-dimensional narrative
punctuated by several extended, deliriously designed, and genuinely scary
three-dimensional interludes, each representing Barnes’s mask-induced
hallucinations. Director Julian Roffman turns the act of wearing the anaglyph 3D glasses into part of the theatrical experience: when Barnes’s voice
intones the immortal words “Put the mask on, NOW!,” the audience dons
their (custom-designed) glasses to witness the doctor’s visions, a riot of
psychedelic, psychologically-charged imagery.
Premiering at the 2015 Toronto International Film Festival, this edition of THE
MASK was digitally restored by the 3-D Film Archive from the best surviving
35mm film elements.
“[In the] film’s 3D segments…skulls materialize and levitate in the mist;
eyeballs bubble and melt out of their sockets; a host of hooded spirits both
guide and impede Barnes’s progress (with fireballs, for good measure); a
beautiful blonde, her own mask recalling that of Edith Scob in Franju’s EYES
WITHOUT A FACE (1960), strikes a temptress pose on a sacrificial altar; and
the path to said altar is flanked by demonic arms, in a terrifying variation on
the torch-bearing limbs in Cocteau’s BEAUTY AND THE BEAST (1946). […]
At the risk of overstating things, these trip sequences – with their emphasis
on ritual, incantation, and a central figure struggling to cope with a violent
psychosexual awakening – work to elevate THE MASK beyond its earned
place in Canuxploitation history and into the realm of avant-garde-tinged
psychodrama, playing the same game (if not at all in the same league) as
Maya Deren and Kenneth Anger.” –Samuel La France, CINEMA SCOPE
–Fri, Jan 15 through Sun, Jan 17 at 7:15 & 9:15
each night.
Lizzie Borden
1983, 85 min, 16mm-to-35mm. Preserved by Anthology Film Archives with restoration funding by The
Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.
A landmark of early 1980s American independent cinema, and made for only $40,000,
Lizzie Borden’s BORN IN FLAMES is figuratively and literally an all-out attack on our
patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film
became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film
Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.
Set slightly in the future in a world largely resembling our own (or rather downtown
NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent
“Socialist Democratic” government. Promised social progress and equality by the current
administration, women and minorities feel even more oppressed and abandoned than
before. Competing pirate radio stations provide news to the confused public from different
ideological positions within the radical movement, while the government attempts to quell
it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and
a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist
agendas of two different feminist groups as they strategize, debate, take up arms, and
form a true Women’s Army. The film swings between various protagonists and political
viewpoints, creating an inclusive atmosphere that allows for a larger, very real political
discussion to develop.
Anthology Film Archives is proud to present this brand new 35mm preservation print
produced as part of a multi-year restoration project supported by the Film Foundation
and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera
stocks over a number of years, the original footage for this crucial film has long been lost.
Working from a damaged original 16mm internegative we have managed to create this
pristine restoration, a vast improvement on older exhibition copies.
“BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring
budget using ‘real people’ (who age and change hairdo from one shot to the next) and
real locations, and mixing pop music black rhythms and ‘new rock’, improvised acting,
political speeches, humor and violence, the film had a cult following as soon as it was
screened in Berlin, Paris, and New York.” –Berenice Reynaud, “Difficult Language: Notes
on Independent Cinema by Women in the Eighties”
This week-long revival run is presented as part of our ongoing series, RE-VISIONS; for
more information on BORN IN FLAMES, and additional Lizzie Borden screenings, see page
7.
–Fri, Feb 19 through Thurs, Feb 25 at 7:15 & 9:15 nightly.
5
PREMIERES / AFA PRESERVATIONS
WHO’S CRAZY?
LOST AND FOUND!
Thomas White
WHO’S CRAZY?
1966, 73 min, 35mm-to-digital, b&w. Digitized and
distributed by Grand Motel Films; special thanks to
Vanessa McDonnnell, Aaron Schimberg, and Spectacle.
“It’s almost Dalí.” –Salvador Dalí
Accompanied by a frenetic original soundtrack
by the great Ornette Coleman, insane asylum
inmates escape their confinement and hole
up in a deserted Belgian farmhouse, where
they cook large quantities of eggs and condemn one of their own in an impromptu court.
The actors don’t have much need for words
when they can dance around, light things on
fire, and drip hot wax on each other instead.
Ornette Coleman and the other members of
his trio – David Izenzon and Charles Moffett
– recorded their score for WHO’S CRAZY?
in one go while the film was projected for
them, and the result feels like a bizarre silent
film with the greatest possible accompaniment. The soundtrack also features a young
Marianne Faithfull singing what are probably
her most experimental riffs – written for her
especially by Ornette – as she asks, “Is God
man? Is man God?” in an original track titled
“Sadness.”
WHO’S CRAZY? was long thought to be lost
by jazz-on-film scholars and the Library of
Congress. In early 2015, the only surviving
copy of the film, a 35mm print struck for
the film’s debut at Cannes in 1966, was salvaged from director Thomas White’s garage
after sitting on a shelf there for decades.
Ornette’s soundtrack exists as a hard-to-find
LP, but audiences have never before had the
opportunity to see what Ornette saw when he
composed it. The cast consists of actors from
New York’s experimental theater troupe, the
Living Theatre, who also performed in Shirley
Clarke’s THE CONNECTION; and speaking of
connections, Clarke would later direct the fantastic ORNETTE: MADE IN AMERICA (1984).
The 35mm print of WHO’S CRAZY? was
repaired by John Klacsmann, archivist at
Anthology Film Archives.
–Fri, Mar 25 through Sun,
Mar 27 at 8:00 each night.
6
MICHIGAN AVENUE
THE UNITED STATES OF AMERICA
RE-VISIONS:
AMERICAN EXPERIMENTAL FILM 1975-90
With the monthly series RE-VISIONS: AMERICAN EXPERIMENTAL FILM 1975-90, Anthology spotlights the generation(s) of experimental film artists who emerged after the final formation in 1975 of our Essential Cinema repertory screening cycle. As hotly debated
as it was widely celebrated, the EC had a seismic effect (for better or worse) on both cinema studies scholarship and international
film curatorial practice. Even though the EC was intended as a direct response to the exclusion of the avant-garde from official Film
History, by so concisely outlining a canon it effectively shifted critical and public interest away from the still developing experimental
film movement and focused attention squarely on certain artists and works considered to be historically important. Subsequent
generations of cinema artists have never received the same level of intellectual/institutional recognition or encouragement. We
believe that it is high time for a re-evaluation.
With the support of a significant grant from the Andy Warhol Foundation for the Visual Arts, Anthology has been engaged in a multiyear project to preserve significant works by a wide range of cinema artists who largely became active or reached their prime after
1975. Rather than attempt to amend the EC, RE-VISIONS uses it as a starting point from which to explore the continuities, fractures,
corollaries, and connections between cinema artists of the last 40 years and the previous avant-garde film movements. Much like
their predecessors, these artists continued to tirelessly push at the parameters of cinematic form.
RE-VISIONS features single-artist screenings of our new preservations alongside other exemplary and enticing titles spanning each
artist’s career. We are as interested in seeing what they made way back then as we are in what they are doing today. When possible,
artists will appear in person to discuss their work and answer questions.
Special thanks to the Andy Warhol Foundation for the Visual Arts, Audio Mechanics, BB Optics, Cinema Arts, Cineric, Colorlab, The Film Foundation, FotoKem,
the Mike Kelly Foundation for the Arts, The National Endowment for the Arts, the National Film Preservation Foundation, Sony Pictures Entertainment, Trackwise, Video and Film Solutions, and all the artists who were involved in this project.
JANUARY:
BETTE GORDON
FILMMAKER IN PERSON!
Bette Gordon’s films are always lively and more than a tad subversive, especially in her approach to narrative and formal construction. A former avant-garde wunderkind who has over the years blossomed into a gifted storyteller, Gordon has never dumbed down
her process or stopped experimenting. Her spectacular early work included many pieces made in collaboration with her former
boyfriend, James Benning, in the mid-1970s. These films combined the formal concerns and optical printing strategies of the
avant-garde structuralist film movement with an abiding interest in landscape, the urban environment, and the erotic touch. Upon
moving to NYC in 1979, Gordon switched gears and began pursuing more long-form, narrative-based works. Today, Gordon teaches
at Columbia University, released her last feature HANDSOME HARRY in 2009, and is in post-production on a forthcoming feature, THE
DROWNING, which will premiere in 2016.
This eclectic selection of films includes her masterful early feature VARIETY, alongside other works restored by Anthology. The
programs also include vintage prints and our brand new scans of recently uncovered early experiments.
PROGRAM 1:
Bette Gordon & James Benning MICHIGAN AVENUE 1973, 7 min, 16mm
Preserved with support from The Andy Warhol Foundation for the Visual Arts and The Women’s Film Preservation Fund.
A narrative film concerning an investigation of two women in time and space, to the point where the investigation becomes the narrative.
Bette Gordon & James Benning i-94 1974, 3 min, 16mm
Preserved with support from The Andy Warhol Foundation for the Visual Arts and The Women’s Film Preservation Fund.
Intercourse between two people who never appear on the screen at the same time. An exploration of sex and male/female identities.
Bette Gordon & James Benning THE UNITED STATES OF AMERICA 1975, 27 min, 16mm
Preserved with support from The National Film Preservation Foundation.
A true masterpiece of 1970s cinema, more remarkable today then ever before. A conceptual bicentennial film dealing with spatial
and temporal relationships between two travelers, their car, and the geographic, political, and social changes from NY to Los Angeles.
Bette Gordon AN ALGORITHM 1977, 10 min, 16mm
Preserved with support from The Andy Warhol Foundation for the Visual Arts and The Women’s Film Preservation Fund.
A visually stunning kinetic rhythm produced by looped footage (mathematical curves) in and out of phase with each other.
AFA PRESERVATIONS
AN ALGORITHM
VARIETY
BORN IN FLAMES
FEBRUARY:
WEBBS 1975-76, 11 min, 16mm-to-digital
This recently unearthed and newly digitized work is a richly minimalist, single-camera-setup portrait of the sights and sounds at a
late-night diner.
CENTRAL TIME 1977, 3.5 min, 16mm-to-digital
In this time-lapse glimpse of an urban skyline from dusk to dark,
the reflected interior of the room from which the film is shot gradually gains dominance.
Total running time: ca. 65 min.
–Sat, Jan 30 at 6:30.
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PROGRAM 2:
VARIETY
1984, 100 min, 35mm. Written by Kathy Acker; with Sandy McLeod, Will Patton,
Nan Goldin, and Cookie Mueller.
A desperately unemployed Manhattan woman lands a job as
a cashier in an X-rated cinema where she finds herself drawn
towards events on-screen. Gordon’s striking and gritty pseudothriller was filmed on NYC locations years before the Times Square
clean-up, and remains a haunting study of sexual identity and the
silent, invisible walls existing between men and women.
–Sat, Jan 30 and Sun, Jan 31 at 8:30 each night.
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PROGRAM 3:
Bette Gordon
EMPTY SUITCASES
1981, 55 min, 16mm-to-digital
A narrative derived from film’s own material and an exploration of
issues relating to representation and identification in cinema. The
film presents fragments of a woman’s life – her work (as a photographer), her friendships and relationships – in short, her economic,
sexual, and artistic struggles. By deconstructing the fragments of
text, speech, music, and picture, the film problematizes the way in
which cinematic language structures point of view.
ANYBODY’S WOMAN 1981, 25 min, Super 8mm-to-digital
“I asked my friend Nancy Reilly to talk about her porn fantasies
in front of the [Variety Theater]. And I asked my friend Spalding
Gray to do the same. … I wanted to hear women talk dirty and to
see what kind of power that might yield. I wanted women to look
back instead of being looked at. I turned this Super-8 film into the
treatment for my film VARIETY.” –B.G.
GREED: PAY TO PLAY 1987, 20 min, 16mm
This is Gordon’s contribution to the German-produced omnibus
film, SEVEN WOMEN – SEVEN SINS, whose other chapters were
directed by important female directors including Helke Sander,
Chantal Akerman, Valie Export, and Ulrike Ottinger. In GREED, three
women have a strange, claustrophobic encounter in the ladies
lounge of a luxurious Manhattan hotel. With Rosemary Hochschild,
a rare film appearance by the legendary Wooster Group actress
Kate Valk, and Roberta Wallach (daughter of Eli Wallach).
Total running time: ca. 105 min.
–Sun, Jan 31 at 6:00.
LIZZIE BORDEN
FILMMAKER IN PERSON!
Born in Detroit, Michigan, Lizzie Borden is best known for her anarcha-feminist classic, BORN IN FLAMES (1983),
which B. Ruby Rich calls, “A precursor to New Queer Cinema in its genre hybridization (radical-lesbian-feministsci-fi vérité) and political fury.” Borden has created a small but explosive body of work that challenges viewers to
rethink their assumptions about gender, sexuality, race, and class.
After majoring in art history at Wellesley College, Borden moved to NYC where she originally aspired to be a
painter and wrote for Artforum Magazine. She began her filmmaking career by creating the soundtrack for
Richard Serra’s documentary, STEELMILL. Borden’s first feature was REGROUPING (1976), about a women’s
consciousness-raising group. The homogeneity of race and class in the group led her to embark on BORN IN
FLAMES, while her interest in the sex industry and labor resulted in WORKING GIRLS (1986), an un-romanticized
look at a middle-class brothel in Manhattan. Borden landed in movie jail with her studio-recut, erotic thriller LOVE
CRIMES (1992), but has since directed several TV episodes, including RED SHOE DIARIES and Propaganda Film’s
INSIDE OUT, starring Alexis Arquette, Joe Dallesandro, and Mary Woronov.
For her RE-VISIONS program, we’re overjoyed to premiere our brand-new 35mm preservation of BORN IN
FLAMES, alongside very rare screenings of her debut feature, REGROUPING, presented in collaboration with the
Outfest UCLA Legacy Project.
Lizzie Borden
BORN IN FLAMES
1983, 85 min, 16mm-to-35mm. Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.
A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden’s BORN IN
FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983
Berlin Film Festival. An unlikely underground breakout, BORN IN FLAMES is a film whose impact has never waned.
Anthology is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration
project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of
16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working
from a damaged original 16mm internegative we have managed to create this pristine restoration, which is a vast
improvement on older exhibition copies.
“Like the political assassination that serves as a rallying point for its characters, BORN IN FLAMES appears as if
out of nowhere to provoke an otherwise moribund film scene. […] Subjects generally repressed in America – race,
class, feminism, social revolt, the power of the media – come tumbling out across the screen one after another
with the liberating force of thought set free. There have been films made about all of the above ideas in the past
(Godard’s COMMENT ÇA VA?, Wajda’s MAN OF MARBLE, and Yvonne Rainer’s JOURNEYS FROM BERLIN/1971, to
name only three), but few so dexterously and none so unintimidated by either the Scylla of theory or the Charybdis
of the marketplace.” –David Ehrenstein, FILM: THE FRONT LINE 1984
For an extended description of BORN IN FLAMES, see page 5.
–Fri, Feb 19 through Thurs, Feb 25 at 7:15 & 9:15 nightly.
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Lizzie Borden
REGROUPING
1976, 80 min, 16mm, b&w
In this experimental film, Borden explores the dynamics among the members of a woman’s group. As she interviews people who know them, such as Joan Jonas, the group shoots ‘artistic’ scenes of themselves – but Borden
feels they aren’t fully grappling with issues of sexuality and politics. Are they a serious group – or just friends?
After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group’s arguments into another edit, filming larger groups commenting both on the original one and on
consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.
–Sat & Sun, Feb 20 & 21 at 4:45 each day.
7
AFA PRESERVATIONS
THE DEADLY ART OF SURVIVAL
DOIN’ TIME IN TIMES SQUARE
CONEY ISLAND RULES
RE-VISIONS, CONT’D
MARCH:
CHARLIE AHEARN
FILMMAKER IN PERSON!
Charlie Ahearn is the director of some of the most invaluable filmic chronicles of New York City in the 1970s and 80s, and in particular of the graffiti and hip hop movements that were then
beginning to develop into major forces in American culture. Ahearn was part of a generation of artists determined to make work that would have a cultural impact beyond the insular worlds
of the experimental film and art scenes. Taking the no-budget, DIY spirit of Underground and No Wave cinema and striving to extend it beyond cultural and class barriers, Ahearn started
out by making 16mm short films with kids from the streets and housing projects of the Lower East Side and then projecting them on the walls of the neighborhood for the community.
These early works soon led to features, culminating in the seminal WILD STYLE, a a loosely-scripted narrative film that also functions as an invaluable glimpse into the graffiti and hip hop
cultures, showcasing the art and music of legends such as Fab Five Freddy and graffiti artist Lee Quinones. WILD STYLE remains a classic – but two years earlier, Ahearn had made another
film on the streets of NYC, using the same technique: a no-budget kung fu epic entitled THE DEADLY ART OF SURVIVAL. Like all of his works from this period, and very much anticipating
the 21st century vogue for hybrid fiction/documentary films, DEADLY ART is at once a rough-and-tumble yet enormously entertaining action movie and a still-astonishing document of a
vibrant but increasingly vanished NYC.
To celebrate Anthology’s brand-new digital restoration of the Super-8mm original, we will be presenting two screenings of THE DEADLY ART OF SURVIVAL, along with a selection of works
from throughout Ahearn’s career: from his early 16mm diary and travelogue films, and his gloriously unvarnished Times Square video portrait, DOIN’ TIME IN TIMES SQUARE, to the hip
hop-themed digital video shorts he’s been making for the past several years. Charlie Ahearn is a one-of-a-kind artist who has committed himself to showcasing some of the most important
aspects of homegrown American culture since the 1970s, and this four-program survey of his work is not to be missed.
PROGRAM 1:
THE DEADLY ART OF SURVIVAL
1979, 75 min, Super 8mm-to-digital. Digitized by Anthology with support from The Andy Warhol Foundation for the Visual Arts.
In 1978, while prowling around the Lower East Side shooting short films with his 16mm
Bolex camera, Ahearn got to know the mostly black and Puerto Rican students of a
martial-arts school/community center. Soon Ahearn joined forces with the kids to create
this homemade, LES-set kung fu movie, an homage to the martial-arts films saturating
the grindhouses at the time, as well as an invaluable record of the neighborhood and its
residents. Shot on Super-8mm and starring Nathan Ingram, the kung fu school’s real
life leader, DEADLY ART dramatizes its protagonists’ struggle against local drug dealers
operating out of a rival karate school called the Disco Dojo. The story plays out before
an urban landscape that includes local handball courts painted by graffiti artist Lee Quinones, soon to take the starring role in Ahearn’s follow-up, the classic film, WILD STYLE.
“It’s raw, unpretentious and also delivers loads of badass craziness on a food-stamplevel budget. […] Once finished, Ahearn trucked the movie and his Super-8 projector
to South Bronx and Lower East Side venues, occasionally preceded by a live karate
performance.” –Steven Puchalski, SHOCK CINEMA
With:
NEW YORK CITY HIP HOP CONVENTION 1980, 15 min, video
–Fri, Mar 11 at 8:00 and Sun, Mar 13 at 8:30.
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PROGRAM 3:
DOIN’ TIME IN TIMES SQUARE
1991, 39 min, video
DOIN’ TIME IN TIMES SQUARE is a home movie capturing the old capital of sleaze in all
its pathetic glory. During the production of WILD STYLE in 1980, Ahearn moved with his
wife Jane Dickson to a corner loft with views of 8th Ave and 43rd St. Awakened nightly
by howling from the street, he was ready with his video camera to shoot the transvestites
throwing garbage cans at cops outside their infamous hangout, Sally’s Hideaway. Show
World, Dobbs Hats, and Paradise Alley offered lovely backdrops to another drug deal gone
bad. Home movies of his son Joe’s birthday parties and the arrival of his daughter Eve
clashed with street fights down below. Times Square’s New Year’s Eve mob scenes marked
the passage of time until Ahearn’s building was demolished to make way for the new
Disney-fied Times Square.
“I wanted to keep the home-video format and not try to make a documentary or an art film
or anything. I wanted to let people see what I saw. In ten years, the world that I’m showing
in this tape will be gone.” –Charlie Ahearn, 1991
JANE IN PEEP LAND 1993, 20 min, video
Like DOIN’ TIME, this video – featuring Ahearn’s wife, painter Jane Dickson – provides a
full immersive experience of Times Square in the early 1990s. Times Square was a primary
subject matter for Dickson’s painting, and here she muses on her psychic relationship to
the images of the neighborhood.
–Sat, Mar 12 at 8:30.
PROGRAM 2: 16MM SOUND DIARY/TRAVELOGUES
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
This program showcases the early 16mm Bolex experimental sound travelogue films
that Ahearn made between 1976-78. In these works, Ahearn documents dynamite work
in a Baltimore marble quarry, muses on the separated Dioscuri twins reflected in the
Municipal Building, explores goldmines in Arizona, and documents a trip to Iceland with
his father and twin brother John.
“These recent Hip Hop-related digital video shorts include my homage to funky Coney
Island, a roots B-boy Battle with DJ Grand Wizard Theodore, a graffiti mission in the Paris
Metro, and a live Hip Hop procession over the Brooklyn Bridge.” –Charlie Ahearn
DAYS AND NIGHTS 1976, ca. 15 min, 16mm
DIOSCURI 1976, ca. 15 min, 16mm
MASS GUIDE 1977, ca. 15 min, 16mm
KVIKMYND 1978, ca. 15 min, 16mm
Total running time: ca. 65 min.
–Sat, Mar 12 at 6:30.
8
PROGRAM 4: RECENT HIP HOP RELATED VIDEOS
CONEY ISLAND RULES 2015, 28 min
5 GRAND MASTERS 2014, 26.5 min
DIRT STYLE 2014, 11 min
ALL CITY TAKE IT TO THE BRIDGE 2010, 6.5 min
Total running time: ca. 75 min.
–Sun, Mar 13 at 6:30.
ONGOING SERIES
TRANSITIONAL OBJECTS
OBSERVANDO EL CIELO
MADAME MAE NANG NAK
FLAHERTY NYC PRESENTS:
TRANSFORMING PROVOCATIONS
TRANSFORMING PROVOCATIONS rallies moving image media from a wide array of sources to contemplate the divergent meanings embedded in transition.
What does it mean to move from one psychic condition to another, from one bodily identity to another, from one site to another? What is the phenomenological effect of cinematic and poetic juxtapositions? How do liminal states engage the intersectionality that both divides and connects citizens and
those who reside beyond the borders of citizenship? These programs celebrate the short film format, leveraging cumulative insights gained through
the entanglements between works. They offer multiple means to imagine a future in the face of geologic and political transformations that threaten to
profoundly alter our ways of being.
Programmed by Lana Lin and Cauleen Smith.
PROGRAM 1: TRANSITIONAL OBJECTS/TRANSITIONAL SUBJECTS
Taking after psychoanalyst D.W. Winnicott’s concept of the “transitional object,” these
works explore creativity within the intermediate area between psyche and materiality.
Jennifer Montgomery TRANSITIONAL OBJECTS 2000, 19 min, digital
David Loeb Weiss FAREWELL ETAOIN SHRDLU 1980, 29 min, 16mm
Jacolby Satterwhite THE COUNTRY BALL 1989-2012, 12 min, digital
Xu Wang EVE AND DAVID 2014, 8 min, digital
Adebukola Bodunrin & Ezra Claytan Daniels THE GOLDEN CHAIN 2013, 12 min, digital
Total running time: ca. 85 min.
Jennifer Montgomery and Xu Wang in person.
–Tues, Jan 19 at 7:00.
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PROGRAM 2: QUEER TRANSITIONS
This program looks at a history and present of evolving erotic experiences of embodiment,
from defiant and empowering perspectives.
Marguerite Paris ALL WOMEN ARE EQUAL 1972, 15 min, 16mm
Michelle Parkerson STORME: THE LADY OF THE JEWEL BOX 1987, 21 min, 16mm
Susana Donovan BOY FRANKENSTEIN 1994, 9 min, digital
Ruth Jenrbekova & Maria Vilk LAYER 2015, 21 min, digital
Yoriko Mizushiri MAKU 2014, 5 min, digital
Tara Mateik OPERATION INVERT 2003, 12 min, digital
Total running time: ca. 85 min.
Tara Mateik and Michelle Parkerson in person.
–Tues, Feb 2 at 7:00.
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PROGRAM 3: REGIME CHANGE
This program attempts to sharpen the margins of visibility by moving the anchor of the center
toward a spectrum of gestures that resist invisibility.
Santiago Mostyn DELAY 2014, 4 min, digital
Beatriz Santiago Muñoz LA CUEVA NEGRA 2013, 20 min, digital
Beatriz Santiago Muñoz MATRULLA 2014, 6.5 min, 16mm
Beatriz Santiago Muñoz LA CABEZA MATO A TODOS 2014, 7.5 min, digital
Beatriz Santiago Muñoz ESTO ES UN MENSAJE EXPLOSIVO 2010, 18 min, digital
Akwaeke Emezi BLESI 2013, 2 min, digital
Wura Natasha Ogunji WILL I STILL CARRY WATER WHEN I AM A DEAD WOMAN?
2011, 5 min, digital
Thenjiwe Nkosi LE TCHAD: TRUE HEART 2013, 14.5 min, digital
Total running time: ca. 80 min.
Beatriz Santiago Muñoz in person.
–Tues, Feb 16 at 7:00.
PROGRAM 4: ECOLOGIES & OTHER EARTHLY
MOVEMENTS
This program proposes that our changing relationship to the planet, and the
alienated anxieties it seems to be producing, is not occurring without avid and
imaginative human responses.
Loretta Fahrenholz DITCH PLAINS 2013, 31 min, digital
Melissa Friedling GARDEN ROLL BOUNCE PARKING LOT 2010, 4.5 min, digital
Amir George SHADES OF SHADOWS 2015, 6.5 min, digital
Cate Giordano HERITAGE 2012, 30.5 min, digital
Total running time: ca. 75 min.
Melissa Friedling and Cate Giordano in person.
–Tues, Mar 1 at 7:00.
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PROGRAM 5: TRANSITIONS IN FILM FORM
The materiality, tactility, and permeability of media collide with transitions from
past to present and over-here to over-there.
Michelle Handelman DORIAN THE WALLPAPER COLLECTION
2009-11, 6 min, digital
Ja’Tovia Gary AN ECSTATIC EXPERIENCE 2015, 6 min, digital
Jeanne Liotta OBSERVANDO EL CIELO 2007, 18 min, 16mm
Valie Export SYNTAGMA 1983, 17 min, 16mm
Nguyễn Trinh Thi CHRONICLE OF A TAPE RECORDED OVER
2010, 28 min, digital
Julie Murray UNTITLED (EARTH) 2015, 8 min, digital
Anansi Knowbody ANANSI IS A GOD 2015, 1.5 min, digital
Total running time: ca. 90 min.
Ja’Tovia Gary, Jeanne Liotta, and Julie Murray in person.
–Tues, Mar 15 at 7:00.
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PROGRAM 6: LIFE/DEATH AND AFTERLIFE
These works investigate the vagaries of life and death through the medium of
performance and storytelling, narrating exquisite transfers from the realm of the
living to the dead and back again.
Kim Miller MADAME MAE NANG NAK 2014, 14 min, digital
Kathleen Collins THE CRUZ BROTHERS AND MISS MALLOY
1980, 54 min, 16mm-to-digital
Tamar Guimarães & Kasper Akhøj CAPTAIN GERVASIO’S FAMILY /
A FAMÍLIA DO CAPITÃO GERVÁSIO 2013/14, 16 min, DCP
Total running time: ca. 90 min.
Kim Miller in person.
–Tues, Mar 29 at 7:00.
9
ONGOING SERIES
DIARY FILM #2: NOVEL
WHY CARS? – CARnage!
SHOW & TELL
Each of our quarterly calendars contains hundreds of films and videos all grouped into a number of series or categories. Along with preservation screenings, theatrical premieres,
thematic series, and retrospectives, we’re equally dedicated to presenting work by individuals operating at the vanguard of non-commercial cinema. Each month we showcase
at least one such program, focusing on moving-image artists who are emerging, at their peak, or long-established but still prolific. These programs are collected under the rubric
SHOW & TELL, to emphasize the presence of the filmmakers at each and every program.
This calendar brings visits from filmmaker Timothy Geraghty, who has extended 3D filmmaking into stunning new domains; Australian filmmaker Tim Burns, who will present a
selection of his Super 8mm and 16mm films, many of which were made while he was living in NYC in the 1970s and 80s; and Joshua Tree-based Kate McCabe, whose films
utilize the technique of time-lapse, among others, to exquisite effect.
JANUARY:
FEBRUARY:
Timothy Geraghty is part of a small contingent of
contemporary filmmakers who have committed themselves to exploring the largely untapped but enormous
potential of 3D cinema. It’s common knowledge that
3D has made a vigorous comeback in recent years,
becoming a ubiquitous feature of the nation’s multiplexes. But Hollywood, typically, has utilized the technology to severely limited ends, leaving experimental
filmmakers to explore the full breadth and depth of
what 3D makes possible.
Tim Burns is a legendary figure in the history of Australian underground art. He rose to notoriety in the early
1970s with a series of (literally) explosive art actions, before decamping to New York, where he lived until the
mid-1990s. Tim Burns was a pioneer in the Super 8 New Wave in New York, producing two features, WHY CARS?
– CARnage (1977) and POLITICAL TRANSMISSION (1978). He was deeply involved with the film and theater
community downtown at that time, participating in the Nightshift Theater, Collaborative Projects, and Variety
Motion Pictures. Working in various media – film, video, theater, installation, painting, books – over the last forty
years, Burns sets up situations that critically reflect on our hypermediated, industrialized western society. Burns
is currently based in Western Australia, near the town of York, and we’re thrilled to welcome him back to NYC
for these rare screenings.
TIMOTHY GERAGHTY
In just the past few years, Geraghty has distinguished
himself as one of the most truly innovative and exploratory of those artists who have expanded the possibilities of the form. Primarily embracing old-school anaglyph (red and cyan) 3D, he has used the technology to
do much more than conjure up traditional depth effects
– in works such as COMING UP THREES and SOMETHING MIGHT HAPPEN, he creates three-dimensional
collages, superimposing distinct planes of imagery into
densely multi-layered, perception-altering compositions. In his hands, 3D becomes a tool for extending the
approach of filmmakers like Bruce Baillie or Gregory
Markopoulos, whose mastery of multiple-exposure
and optical juxtaposition resulted in masterpieces such
as CASTRO STREET (1966) and SORROWS (1969).
Geraghty uses anaglyph technology to render his own
juxtapositions in depth, so that the multiple layers
interact in radically new and dizzying ways. The result
is a growing body of work that genuinely challenges
our accustomed ways of perceiving moving images.
COMING UP THREES 2012, 7 min, digital
SOMETHING MIGHT HAPPEN 2013, 16 min, digital
RAVEN AND DOVE 2014, 10 min, digital
DIARY FILM #2: NOVEL 2016, 45 min, digital
Total running time: ca. 80 min.
–Thurs, Jan 21 at 7:30.
10
TIM BURNS
PROGRAM 1:
WHY CARS? – CARnage!
1979, 60 min, Super 8mm-to-digital
“A production that no one will ever accuse of exploring light and movement for their own sakes. With a calculated indifference to craft, Burns celebrates himself in a portrait of the artist as a post-conceptual composite of
Alfred Jarry and Ralph Nader. WHY CARS? details Burns’ strenuously bizarre campaign to establish pedestrian
crosswalks in his Australian hometown, then follows the extension of his work across the globe to TriBeCa. […]
[WHY CARS?] is an aggressive jumble of car wrecks, TV (interviews), scenes from loft life, and some Chinese
propaganda shot off of the screen at Film Forum.” –J. Hoberman, VILLAGE VOICE
“[WHY CARS?] is an unstructured mess of cars, insanity and skidsophrenia. Arab capital threatening American
capital, super-8 cars and wrecks, brown images of choking New York. Chinese propaganda films doing battle
in Burns’ New York loft, strong Australian accents always obvious in a strange environment.” –P. Denton, FILMNEWS (SYDNEY FILMMAKERS COOP)
–Fri, Feb 5 at 7:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2:
POLITICAL TRANSMISSION
1978, 60 min, Super 8mm-to-digital
“POLITICAL TRANSMISSION is conceived as a Brechtian vision of the Left’s role in world affairs, particularly
the fascist overthrow and 1973 assassination of Allende in Chile. [Actor Lindzee] Smith is laid up in a New York
hospital, his immune system ravaged by rampaging anti-bodies. Smith’s political diatribe heard voice-off is a
didactic call to arms in response to a rise in fascism: an unhealthy political ideology attempting to overthrow a
healthy social system.” –Tony Reck, REAL TIME
ALPHABET CITY / THUS WENT PHILLIPA
1981, 25 min, Super 8mm-to-digital
This film is a documentary drama about heroin addicts in a Lower East Side apartment, based on a play called
“The Needle Vestal” by Sinclair Beiles, a beatnik compatriot of Ginsberg, Burroughs, and Kerouac.
ONGOING SERIES
LUKE’S PARTY
YOU AND I REMAIN
“Burns shows a bunch of his friends shooting up in a Lower
East Side apartment. Ranging from ‘look how disgusting
you look nodding out’ verite shooting to formal montages of arms, needles, and hands, the film is an intense
moment-to-moment improvisation around the problem of
depicting something you are right in the middle of and that
scares you to death.” –Amy Taubin, SOHO NEWS
MARCH:
ROMANCE, APOCALYPSE AND MOON LANDINGS:
–Sat, Feb 6 at 6:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 3:
AGAINST THE GRAIN: MORE MEAT
THAN WHEAT
1980, 80 min, 16mm
“Burns’s remarkable, dystopic, and challenging activist
film charts the journey and movements of Ray Unit, a
contradictory figure who provides a fascinating conduit
through which to survey a range of hot-button issues
including home-grown terrorism, woodchipping, national
security, and the effects of technology on individual freedom.” –MELBOURNE CINEMATHEQUE
“AGAINST THE GRAIN achieves a potent immediacy – it’s
like a cross between Newsreel’s AMERICA 1969, Godard’s
NUMERO DEUX, and B-movies’ THE OFFENDERS – with a
jolting style that keeps you working and thinking throughout.” –J. Hoberman, THE VILLAGE VOICE
“A major experimental narrative that has become one of
Australia’s cult classics.” –AUSTRALIAN FILM INSTITUTE
LUKE’S PARTY
1991, 16.5 min, 16mm
“Orchestrated chaos, as the interviewee of this mock
documentary struggles to tell her story in the face of continual interruptions by children, neighbors, social security
inspectors, debt collectors, repairmen, et al. A funny, sad,
exasperating and delightful film which parodies cinema
verite.” –AUSTRALIAN FILM INSTITUTE
–Sat, Feb 6 at 8:15.
THE TWILIGHT WORLDS OF
KATE MCCABE
Kate McCabe lives in the desert near the rock-n-roll heaven known as Joshua
Tree, California, where she founded the art collective Kidnap Yourself. Raised and
educated in Philadelphia, she obtained her MFA in Experimental Animation from
the California Institute of the Arts under the innovative Jules Engel. She has shown
films globally since 1995 in film festivals, galleries, and the occasional guerrilla
drive-in. In addition to her films (which include the feature film, SABBIA, a visual
album for stoner rock prince, Brant Bjork), she works in painting, photography, short
fiction, and art books. Her popular sketch comic book, “Mojave Weather Diaries,”
encompasses four books and counting. McCabe has taught film at CalArts and UC
San Diego and has worked with some of Los Angeles’s most prolific independent
filmmakers, including Eli Roth and Pat O’Neill. You can listen to her on radiofreejt.
org every Friday night with her kitchen dance party show “Mojave Kitchen Dance
Diaries.”
Tonight we’ll be showcasing a decade’s worth of her moving-image work, and premiering her latest 16mm piece, YOU AND I REMAIN. A film inspired by the Anthropocene, YOU AND I REMAIN is an apocalyptic lullaby, a landscape film meditating
on the end of the world. Shot in Big Sur, the Salton Sea, and in McCabe’s own
neighborhood of Joshua Tree, the film shows us a portrait of the world askew, with
subtle and moving sound design by Jason Payne of Nitzer Ebb.
“These are funny and sweet personal observations of our twilight worlds. Worlds
where portraits of places and emotions are the kinetic sublime – where we as viewers are transported betwixt and between, hovering – our feet grounded on earth,
our heads in the clouds. The everyday scene, a moving lyrical event functioning as a
tribute to beauty and our lucid spirit. These short films are like private conversations
sharing a secret and a dream.” –Kate McCabe
MILK AND HONEY 2004, 15 min, 16mm
DARLING 2011, 4 min, 16mm-to-digital
LIES AND MENDACITY 2006, 1.5 min, digital
GROWGIRL 2011, 1.5 min, digital
SABBIA 2006, 15-min excerpt, 16mm-to-digital
MY SWEET 2013, 4 min, 16mm-to-digital
SONG FOR PICKLES 2013, 3 min, Super 8mm-to-digital, b&w
YOU AND I REMAIN 2015, 15 min, 16mm
MY FRIEND 2015, 7 min, 16mm-to-digital
PORTRAITS 2001, 8 min, 16mm
Total running time: ca. 80 min.
–Sat, Mar 26 at 7:30.
11
ONGOING SERIES
DAMON AT 86TH STREET
INDIAN TALKING MACHINE
NEW YORK WOMEN
IN FILM & TELEVISION
PRESENTS
NYWIFT’s Member Screening Series provides members with the opportunity to show their work in a theatrical setting. The screenings are
always followed by a Q&A and networking at a nearby bar.
NYWIFT programs, screenings, and events are supported, in part, by grants from the
New York City Department of Cultural Affairs in partnership with the City Council, and
by the New York State Council on the Arts with the support of Governor Andrew Cuomo
and the New York State Legislature.
JANUARY
Emily Sheskin DAMON AT 86TH STREET 2015, 8.5 min, digital
Damon C. Scott is a well known subway and street performer, but he’s
also the voice of the #1 hit song “Look Right Through” (by Storm Queen,
remixed by DJ Mark “MK” Kinchen).
Christina Eliopoulos
DEMON ON WHEELS
2015, 87 min, digital
A former speed demon and rumrunner, now an aging mechanic in a
sleepy Catskills town, risks it all — his health, his security, even the love
of his life — when he vows to restore and race the prized car of his wild
youth, a 1968 Ford Mustang. But will his quest to restore the car, bolt
by bolt, as a tribute to Carroll Shelby (the racing legend who gave the
Mustang its muscle) restore him? Or will a love triangle between Mike,
his girlfriend Martha, and the Demon lead him to crash and burn?
–Tues, Jan 26 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FEBRUARY
Suzanne Hayes Kelley
ISN’T IT DELICIOUS
2014, 102 min, digital
A fractured family of misfits finds and tries to fix themselves in this hilarious and heartbreaking story of a difficult matriarch who seeks understanding and closure while trying to face death with dignity.
–Tues, Feb 23 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
MARCH
Eva Zelig
AN UNKNOWN COUNTRY
2015, 90 min, digital
This documentary tells the story of European Jews who escaped Nazi
persecution to find refuge in an unlikely destination: Ecuador. Featuring
first hand accounts, family photos, and archival material, the film follows
the exiles’ perilous escape and difficult adjustment as they remade their
lives in what was for them an exotic, unfamiliar land. The film explores
the relations between the local inhabitants and the European exiles in
their midst, and highlights the contributions the refugees made to the
economic, artistic, and cultural life of their host country.
–Tues, Mar 22 at 7:00.
12
THE RITE
AUDIO VÉRITÉ:
SUBLIME FREQUENCIES BOOK RELEASE EVENT!
ROBERT MILLIS: INDIAN TALKING MACHINE
The result of nearly a year in India photographing record collections, interviewing collectors,
and visiting archives and record markets, Robert Millis’s newly published book, INDIAN TALKING MACHINE, is a personal take on the vast worlds of Indian music and the intricacies of
collecting sound. It contains over 300 photographs, as well as two CDs featuring 46 tracks from
shellac discs spanning the years 1903-49. Millis’s images capture shelves groaning under the
weight of unimaginable titles, beautiful label and sleeve designs from long gone eras, wind up
talking machines, crammed antique shops, forgotten artists, and more that somehow survived
(often barely) the difficult ‘archival’ issues of India.
Millis will be here in person to host a special presentation featuring
several short Sublime Frequencies videos, rare music, and a
plethora of images.
Millis is a founding member of Climax Golden Twins, a Fulbright Scholar, a solo artist, frequent
contributor to the Sublime Frequencies label, and the creator of Victrola Favorites, as well as
the films THIS WORLD IS UNREAL LIKE A SNAKE IN A ROPE (2010) and PHI TA KHON: GHOSTS
OF ISAN (2006).
–Sun, Feb 7 at 7:30.
AFA MEMBERS ONLY – FREE
SCREENING!
Ingmar Bergman’s THE RITE
Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology’s collections, in-person
filmmaker presentations, and more! The benefits of an Anthology membership have always
been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to
all other shows, discounted AFA publications. But with these screenings – free and open only
to members – we sweeten the pot even further.
Ingmar Bergman
THE RITE (aka THE RITUAL) / RITEN
1969, 72 min, 35mm, b&w. In Swedish with English subtitles. With Ingrid Thulin, Anders Ek, Gunnar Björnstrand,
Erik Hell, and Ingmar Bergman.
“During the filming of SHAME in 1967, Bergman conceived an experimental work inspired by
his controversial tenure at the Royal Dramatic Academy, later shooting it on 35mm in nine days
for his first true television ‘film.’ Focusing on four characters – a trio of actors charged with
obscenity, and the judge assigned to try them – THE RITE is divided into nine titled scenes that
alternate criminal interrogation with personal confrontation, leading to a final ‘performance’
that stands as one of the most bizarre moments in Bergman’s filmography. Shot almost entirely
in Dreyer-esque close-ups, on bare sets that call attention to the theatricality of the venture,
THE RITE is a black-and-white black hole that collapses a decade’s worth of cinematic exploration into 72 tense, claustrophobic minutes. Shown at the New York Film Festival in 1969, but
otherwise rarely seen apart from Bergman retrospectives, THE RITE will screen from a 35mm
print that rescues the stark beauty of Sven Nykvist’s cinematography from the clutches of the
small screen.” –Brian Belovarac
–Tues, Mar 29 at 7:30. Reception at 7:00!
SERIES
SMOKE SIGNALS
TRUDELL
THROUGH INDIAN EYES: NATIVE AMERICAN CINEMA
January 14-21
Native Americans first appeared on film in 1895 at the dawn of the medium but were totally excluded from any meaningful role in the production of their own cinematic images for
virtually the entire century to follow. And they continue to be marginalized in the entertainment industry today. Over the last 25 years, however, a renaissance in independent Native
American filmmaking has occurred. This phenomenon, though, is not sui generis. Indeed, since the 1970s, Native communities, after centuries-old legacies of genocide, displacement,
forced assimilation, poverty, alcoholism, and demeaning media images, have worked incrementally to take command of their destinies and their representation. Native American filmmakers have undertaken dramas, crime films, comedies, shorts, documentaries, and animation, reaching mainstream audiences and Native communities while working to recuperate
tribal languages, spirituality, and community. What we are in fact witnessing is a “national” cinema in formation. Financed variously by tribal communities and non-Native sources, these
films have been guided by Indian eyes, i.e. directed by Native Americans. We also see a Native American film aesthetic beginning to take shape: different ways of perceiving space and
time, stories that are circular rather than linear, landscapes that are both real and allegorical. This survey, organized by the UCLA Film & Television Archive, showcases works produced
in Canada and the United States, representing a cross-section of tribal communities, whether Navajo or Sioux, Seminole or Mohawk, Cree or Inuit.
Presented in association with UCLA Film & Television Archive. This project is supported in part by an award from the National Endowment for the Arts. Series curators:
Jan-Christopher Horak, Dawn Jackson (Saginaw Chippewa), Shannon Kelley, Paul Malcolm, and Valerie Red-Horse Mohl (Cherokee). Associate curator: Nina Rao.
All film descriptions courtesy of UCLA Film & Television Archive.
Chris Eyre
Jeff Barnaby
1998, 89 min, 35mm. Screenplay by Sherman Alexie, based on his own novel.
2013, 85 min, digital
SMOKE SIGNALS
Director Chris Eyre’s monumental first feature – also the first commercially released American feature written, directed, and co-produced by Native American people – presents two young Native men,
stoic Victor and nerdy Thomas, who journey from the Couer-d’Alene
reservation to retrieve the ashes of Victor’s long-lost father. The road
trip deepens the pair’s tenuous friendship, as they explore their
Native identity and confront past traumas with courage and humor.
Preceded by:
Marie Burke CARRYING FIRE 2009, 4 min, digital
The fire of spiritual wellness and self-knowledge is powerfully
shared among individuals and generations in this striking short film.
–Thurs, Jan 14 at 7:00 and Tues, Jan 19 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Valerie Red-Horse & Jennifer Wynne Farmer
NATURALLY NATIVE
1999, 107 min, 35mm
Director Valerie Red-Horse offers a moving tale of Native self-betterment and triumph in this disarming drama about three American
Indian sisters, raised separately in foster families, who now seek
a shared destiny as entrepreneurs of a line of organic cosmetics.
The way to success, however, is strewn with practical, cultural, and
personal obstacles, the surmounting of which offers a drama rich
with emotion, from a perspective heretofore rarely treated on screen.
&
Randy Redroad COW TIPPING: THE MILITANT INDIAN WAITER
1991, 17 min, digital
Redroad’s hilarious short illustrates the confrontation of cultural
insensitivity and cultural oversensitivity, leading to a seemingly endless cycle of the same old, same old.
–Thurs, Jan 14 at 9:00.
RHYMES FOR YOUNG GHOULS
Jeff Barnaby’s visionary feature debut uses the tragic legacy of Canada’s Indian Residential Schools as a
leaping off point for a full-throttle revenge fantasy. Alia, a young woman haunted by her mother’s suicide,
slings pot on the Mi’kmaq reservation to bribe a sociopathic Indian agent to keep her out of the reservation
school. But when a deal goes south, Alia is forced to fight for her freedom.
–Fri, Jan 15 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Heather Rae
TRUDELL
2005, 80 min, digital
Heather Rae’s documentary about American Indian activist and poet John Trudell meets its multifaceted
subject with a complexity worthy of the man. Recounting Trudell’s rise from poverty to leadership in the
American Indian Movement, then through personal tragedies to newfound status as a poet and recording
artist, Rae combines multiple sources to construct the film as a poem in itself.
&
Kevin Lee Burton NIKAMOWIN 2007, 11 min, video
–Fri, Jan 15 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Sydney Freeland
DRUNKTOWN’S FINEST
2014, 89 min, digital
In her impressive first feature, writer-director Sydney Freeland unfurls a suite of stories about contemporary
life among Navajo youth. A young man struggling to disengage from pervasive bad influences, a woman
raised by foster parents seeking her family of origin, and a transsexual with dreams of becoming a model –
all walk a fine line between cultural inheritance and destiny.
&
Blackhorse Lowe SHIMASANI 2009, 15 min, digital, b&w
Shot in gorgeous black-and-white, this elegiac period piece set in 1934 captures a moment of decision for
two restless Navajo sisters living with their grandmother on the reservation.
–Sat, Jan 16 at 4:15.
–continues on page 14–
13
SERIES
THIS MAY BE THE LAST TIME
TIKINAGAN
THROUGH INDIAN EYES, CONT’D
Alanis Obomsawin
Victor Masayesva, Jr.
1993, 119 min, digital
1984, 85 min, video
KANEHSATAKE: 270 YEARS OF RESISTANCE
ITAM HAKIM, HOPIIT
Alanis Obomsawin’s landmark documentary chronicles the cataclysmic 1990 standoff that occurred between the Canadian Army,
Quebec police, and members of the Mohawk Nation determined to
defend their land from the planned encroachment of a golf course.
The astounding incidents, captured by Obomsawin during the
78-day ordeal, form a double portrait: of an indifferent government,
and a people prepared to maintain their dignity at any cost.
Made during the tricentennial of the Pueblo revolt of 1680, ITAM HAKIM, HOPIIT makes few concessions
for non-Hopi audiences in its evocation of Hopi mythology and its upending of traditional documentary
form. Over a kaleidoscopic montage of reservation life, historical photographs, and reenactments, a Hopi
elder shares stories of his boyhood and the origins of the Hopi people.
&
Preceded by:
While a student at UCLA, Arlene Bowman set out to document her grandmother’s life on the Navajo
reservation but when her grandmother refuses to participate mid-way through, Bowman must confront
her own motives and understanding of her heritage. Fascinating for the mistakes Bowman seemingly
makes as well as the lessons she imparts, NAVAJO TALKING PICTURE speaks to the complexities and
pitfalls of representation no matter who’s behind the camera.
Dax Thomas LYE 2005, 5 min, video
Thomas’s impressionistic short, appropriating existing footage,
deconstructs the supposed beauty and the inexorability of images
of empire and its violent expansion.
–Sat, Jan 16 at 6:30 and Tues, Jan 19 at 6:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Shelley Niro
KISSED BY LIGHTNING
2009, 89 min, digital
Mavis Dogblood is a Mohawk painter from Canada, haunted by the
tragic death of her husband. She paints the stories he used to tell,
but she can’t come to grips with her loss. It is only after she drives
to New York City for an art opening, travelling through what were
her ancestors’ tribal lands, that she reconciles herself to her new
life. Beautifully photographed, director Shelly Niro’s feminist film
meditates on the loss of Native traditions, and the role of women
in keeping them alive.
Preceded by:
Arlene Bowman
NAVAJO TALKING PICTURE
1985, 40 min, digital
–Sun, Jan 17 at 8:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Sterlin Harjo
THIS MAY BE THE LAST TIME
2014, 90 min, digital
Who knew that the Muscogee Creek and Seminole nations developed their own traditional hymns akin to
Negro spirituals? Sterlin Harjo’s personal documentary weaves together the surprising and tragic history
of these devotional songs with the mysterious disappearance of his grandfather in 1962.
&
Sandy Osawa & Yasu Osawa A BENTWOOD BOX 1985, 5 min, digital
This enthralling short film illustrates the creation of a carved wooden box, using perfect modulations
of duration and focal distance to inscribe both the act of creation and the film’s act of observation as
reverential.
–Mon, Jan 18 at 7:00.
Helen Haig-Brown ?E?ANX: THE CAVE 2009, 11 min, digital
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
A man going about his daily business accidentally sees scenes not
meant for his eyes…not yet.
THE HONOUR OF ALL
–Sat, Jan 16 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Zacharias Kunuk
ATANARJUAT, THE FAST RUNNER
2001, 170 min, digital. In Inuktitut with English subtitles.
Based on an old Inuit legend, ATANARJUAT tells the story of a clan
chief with two sons, Amaqjuaq, the Strong One and Atanarjuat, the
Fast Runner. Jealousy between them leads to a bloody conflict that
ends in the death of the chief and Amaqujuaq, while Atanarjuat must
flee naked over the barren ice sea. Kunuk’s award-winning film,
the first ever in the Inuktitut-language, presents a violent and brutal
environment punctuated by moments of kindness in a stark and
breathtakingly beautiful landscape.
–Sun, Jan 17 at 5:00 and Thurs, Jan 21 at 7:15.
14
Phil Lucas
1986, 57 min, video
Andy Chelsea, Chief of the Alkali Lake Indian Band, and his wife Phyllis recognize that their alcoholism
threatens to destroy their family, and that virtually their entire community is similarly afflicted. This deeply
moving film by Phil Lucas recounts the true story of a community’s journey to sobriety, enacted by a cast
made up of many of the actual subjects.
&
Gil Cardinal
TIKINAGAN
1991, 59 min, digital
In northwestern Ontario, Tikinagan, a child services agency run by First Nations people, works to support
children and overcome the legacy of mistrust caused by provincial child welfare agencies by making sure
children are cared for within their own communities. This candid documentary explores the heart-rending
struggles facing Native youth, and this revolutionary community-based program.
–Mon, Jan 18 at 9:00.
11
18
10
17
MONDAY
8:00 Ken Jacobs / Nervous
Magic Lantern PGM 3, p 26
24
25
5:00 Kunuk ATANARJUAT, p 14 7:00 Harjo THIS MAY BE THE
LAST TIME, p 14
7:15 & 9:15 Roffman
THE MASK, p 5
9:00 Lucas HONOUR OF ALL &
Cardinal TIKINAGAN, p 14
8:30 Masayesva ITAM HAKIM,
HOPIIT, p 5
4
3
SUNDAY
JANUARY 2016
7:00 NYWIFT: Eliopoulos
DEMON ON WHEELS, p 12
26
9:00 Eyre SMOKE SIGNALS,
p 13
7:00 FLAHERTY NYC: Pgm 1,
p9
6:30 Obomsawin
KANEHSATAKE, p 14
6:00 NEWFILMMAKERS, p 29
27
6:00 NEWFILMMAKERS, p 28
20
6:00 NEWFILMMAKERS, p 28
7:30 Keywords in Subversive
Film/Media Aesthetics PGM,
p 26
19
13
6:00 NEWFILMMAKERS, p 28
6
WEDNESDAY
12
5
TUESDAY
15
8
1
HAPPY
NEW
YEAR!
FRIDAY
9:00 AIP: Haller DUNWICH
HORROR, p 19
7:00 AIP: Baker VAMPIRE
LOVERS, p 19
28
7:30 SHOW & TELL: Tim
Geraghty PGM, p 10
7:15 Kunuk ATANARJUAT, p 14
21
SATURDAY
8:00 Ken Jacobs / Nervous
Magic Lantern PGM 2, p 26
23
9:00 Niro KISSED BY
LIGHTNING, p 14
7:15 & 9:15 Roffman
THE MASK, p 5
6:30 Obomsawin
KANEHSATAKE, p 14
4:15 Freeland DRUNKTOWN’S
FINEST, p 13
16
9
2
30
4:30 EC: Vertov KINO-EYE, p 2
7:00 AIP: Hessler SCREAM AND 5:00 AIP: Fruet DEATH
SCREAM AGAIN, p 19
WEEKEND, p 20
6:30 RE-VISIONS: Bette Gordon
7:30 EC: Vertov MAN WITH A
PGM 1, p 6
MOVIE CAMERA, p 2
7:00 AIP: Fuest ABOMINABLE
DR. PHIBES, p 20
9:00 AIP: Gordon FOOD OF THE 8:30 RE-VISIONS: Gordon
GODS, p 20
VARIETY, p 7
9:00 AIP: Fuest DR. PHIBES
RISES AGAIN, p 20
29
8:00 Ken Jacobs / Nervous
Magic Lantern PGM 1, p 26
22
9:00 Rae TRUDELL, p 13
7:00 Eyre SMOKE SIGNALS, p 13 7:00 Barnaby RHYMES FOR
YOUNG GHOULS, p 13
9:00 Red-Horse & Farmer
NATURALLY NATIVE, p 13
7:15 & 9:15 Roffman
THE MASK, p 5
14
7
THURSDAY
TUESDAY
3
WEDNESDAY
17
6:00 NEWFILMMAKERS, p 29
10
23
24
7:00 EIKO: Ichikawa BURMESE
HARP, p 24
7:00 FLAHERTY NYC: Pgm 3, p 9 6:00 NEWFILMMAKERS, p 29
16
9
9:15 AIP: Corman DAY THE
WORLD ENDED, p 20
7:15 AIP: Gordon FOOD OF THE
GODS, p 20
7:00 FLAHERTY NYC: Pgm 2, p 9 6:00 NEWFILMMAKERS, p 29
2
25
7:30 MFJ: Polish Avant-Garde
Cinema PGM, p 27
7:15 EC: Von Stroheim GREED,
p2
18
7:15 EC: Von Stroheim GREED,
p2
9:15 Brooks MODERN
ROMANCE, p 23
4:30 AIP: Ruben JOYRIDE, p 21
5:15 EC: Baillie/Crockwell
PGM, p 3
6:30 AIP: Reitman CANNIBAL
GIRLS, p 21
7:30 EC: Baillie QUICK BILLY, p 3
8:45 AIP: Witney MASTER OF
THE WORLD, p 21
28
29
SATURDAY
20
9:00 Zulawski POSSESSION,
p 23
7:00 Brooks MODERN
ROMANCE, p 23
4:45 Pialat WE WON’T GROW
OLD TOGETHER, p 23
12:30-11:00pm TOTALLY
80s MOVIE FREAK OUT, p 26
13
4:00 EC: Vertov SIXTH..., p 2
5:00 AIP: Gordon FOOD OF THE
GODS, p 20
6:00 SHOW & TELL: Tim Burns
PGM 2, p 10
7:00 AIP: Hessler SCREAM AND
SCREAM AGAIN, p 19
8:15 SHOW & TELL: Tim Burns
PGM 3, p 11
9:00 AIP: Baker VAMPIRE... p 19
6
26
5:00 AIP: Corman BLOODY
MAMA, p 20
5:15 EC: Andy Warhol PGM, p. 2
7:00 AIP: Zimmerman UNHOLY
ROLLERS, p 20
7:30 EC: Kenneth Anger PGM,
p3
9:00 AIP: Bakshi HEAVY
TRAFFIC, p 21
27
4:45 RE-VISIONS: Borden
7:00 AIP: Corman BLOODY
REGROUPING, p 7
MAMA, p 20
5:00 AIP: Witney MASTER OF
THE WORLD, p 21
7:15 & 9:15 Borden BORN IN
7:00
AIP: Bakshi HEAVY
FLAMES, p 5, 7
TRAFFIC, p 21
9:00 AIP: Zimmerman UNHOLY 7:15 & 9:15 Borden BORN IN
FLAMES, p 5, 7
ROLLERS, p 20
9:00 AIP: Reitman CANNIBAL
GIRLS, p 21
19
9:15 Zulawski POSSESSION,
p 23
7:00 May HEARTBREAK KID,
p 23
7:00 Pialat WE WON’T GROW
OLD TOGETHER, p 23
12
9:00 AIP: Haller DUNWICH
HORROR, p 19
9:00 AIP: Fuest DR. PHIBES
RISES AGAIN, p 20
11
7:30 SHOW & TELL: Tim Burns
PGM 1, p 10
FRIDAY
7:30 EC: Vertov ENTHUSIASM,
p2
5
7:00 AIP: Corman DAY THE
WORLD ENDED, p 20
THURSDAY
7:00 AIP: Fuest ABOMINABLE
DR. PHIBES, p 20
4
4:45 RE-VISIONS: Borden
REGROUPING, p 7
6:00 NEWFILMMAKERS, p 29
7:00 NYWIFT: Kelley ISN’T IT
7:00 EIKO: Wajda KANAL, p 24 6:45 AIP: Witney MASTER OF
7:00 AIP: Reitman CANNIBAL
DELICIOUS, p 12
THE WORLD, p 21
GIRLS, p 21
5:00 AIP: Zimmerman UNHOLY
7:15 & 9:15 Borden BORN IN
7:15 & 9:15 Borden BORN IN
ROLLERS, p 20
FLAMES, p 5, 7
7:15 & 9:15 Borden BORN IN
FLAMES, p 5, 7
7:15 & 9:15 Borden BORN IN 7:30 EC: Warhol/Watson &
7:00 AIP: Ruben JOYRIDE, p 21
FLAMES, p 5, 7
FLAMES, p 5, 7
Webber/Whitney PGM, p 2
7:15 & 9:15 Borden BORN IN
9:00 AIP: Bakshi HEAVY
9:15 AIP: Ruben JOYRIDE, p 21
FLAMES, p 5, 7
TRAFFIC, p 21
9:00 AIP: Corman BLOODY
MAMA, p 20
21
8:45 May HEARTBREAK KID,
p 23
22
7:15 EC: Von Stroheim GREED,
p2
4:00 Brooks MODERN
ROMANCE, p 23
6:00 Zulawski POSSESSION,
p 23
15
8
14
4:00 EC: Vertov ELEVENTH... p 2
5:00 AIP: Fuest ABOMINABLE
DR. PHIBES, p 20
5:30 EC: Vertov THREE SONGS
ABOUT LENIN, p 2
7:00 AIP: Fuest DR. PHIBES
RISES AGAIN, p 20
7:30 AUDIO VÉRITÉ: Robert
Millis PGM, p 12
9:00 AIP: Fruet DEATH
WEEKEND, p 20
7
SUNDAY 1/31
1
4:00 EC: Vertov FORWARD... p 2
5:00 AIP: Corman DAY THE
7:00 AIP: Fruet DEATH
WORLD ENDED, p 20
WEEKEND, p 20
6:00 RE-VISIONS: Bette Gordon
9:00 AIP: Baker VAMPIRE
PGM 3, p 7
LOVERS, p 19
7:00 AIP: Haller DUNWICH
HORROR, p 19
8:30 RE-VISIONS: Gordon
VARIETY, p 7
9:00 AIP: Hessler SCREAM...p 19
MONDAY
FEBRUARY 2016
9:30 Secret Life of AFA, p 27
7:30 AFA MEMBERS ONLY:
Bergman THE RITE, p 12
8:00 White WHO’S CRAZY? p 6
29
7:00 NYWIFT: Zelig UNKNOWN
COUNTRY, p 12
22
7:00 FLAHERTY NYC: Pgm 6,
p9
28
9:00 AIP: Cohen BLACK
CAESAR, p 21
7:00 AIP: Hill FOXY BROWN,
p 22
21
7:15 AIP: Hill FOXY BROWN, p 22
9:00 AIP: Romero BLACK
MAMA, WHITE MAMA, p 22
9:15 AIP: Crain BLACULA, p 21
7:00 FLAHERTY NYC: Pgm 5,
p9
15
8
7:00 FLAHERTY NYC: Pgm 4,
p9
6:00 NEWFILMMAKERS, p 30
30
7:00 EIKO: Koshiro INNER
MONOLOGUE, p 25
6:00 NEWFILMMAKERS, p 30
23
7:00 EIKO: Dehn THE SPIRIT
MOVES, p 25
6:00 NEWFILMMAKERS, p 30
16
7:00 EIKO: Tsuchimoto
MINAMATA, p 25
6:00 NEWFILMMAKERS, p 30
9
7:00 EIKO: Shindo NAKED
ISLAND, p 25
6:00 NEWFILMMAKERS, p 29
WEDNESDAY
2
TUESDAY
1
7:00 AIP: Cohen BLACK
CAESAR, p 21
14
7
MONDAY
6:15 EC: Robert Breer PGM 2,
p4
27
4:45 AIP: Hill COFFY, p 22
5:45 EC: Brakhage TEXT OF
LIGHT, p 3
6:45 AIP: Schultz COOLEY
HIGH, p 22
7:30 EC: Brakhage
PITTSBURGH TRILOGY, p 4
9:00 AIP: Marks J.D.’S
REVENGE, p 22
20
4:45 AIP: Maslansky SUGAR
HILL, p 22
6:30 RE-VISIONS: Ahearn
PGM 4, p 8
6:45 AIP: Schultz COOLEY
HIGH, p 22
8:30 RE-VISIONS: Ahearn
DEADLY ART..., p 8
9:00 AIP: Marks J.D.’S
REVENGE, p 22
13
6:00 EC: Brakhage ART OF
VISION, p 3
4:15 EC: Brakhage SONGS
1-14, p 3
6
SUNDAY
MARCH 2016
THURSDAY
31
7:30 EC: Stan Brakhage PGM,
p4
24
9:00 AIP: Hill COFFY, p 22
7:00 AIP: Maslansky SUGAR
HILL, p 22
17
7:30 EC: Stan Brakhage PGM,
p3
10
4
FRIDAY
SATURDAY
26
9:00 AIP: Maslansky SUGAR
HILL, p 22
7:00 AIP: Romero BLACK
MAMA, WHITE MAMA, p 22
5:00 AIP: Crain BLACULA, p 21
19
8:30 RE-VISIONS: Ahearn DOIN’
TIME IN TIMES SQUARE, p 8
9:00 AIP: Hill FOXY BROWN,
p 22
6:30 RE-VISIONS: Ahearn
PGM 2, p 8
7:00 AIP: Hill COFFY, p 22
5:00 AIP: Romero BLACK
MAMA, WHITE MAMA, p 22
12
7:30 EC: Brakhage DOG STAR
MAN, p 3
5:30 EC: Stan Brakhage PGM,
p3
5
8:00 White WHO’S CRAZY? p 6
7:30 SHOW & TELL: Kate
McCabe PGM, p 11
8:00 White WHO’S CRAZY? p 6 5:15 EC: Robert Breer PGM 1,
p4
25
9:00 AIP: Schultz COOLEY
HIGH, p 22
7:00 AIP: Marks J.D.’S
REVENGE, p 22
18
9:00 AIP: Cohen BLACK
CAESAR, p 21
8:00 RE-VISIONS: Ahearn
DEADLY ART OF SURVIVAL,
p8
7:00 AIP: Crain BLACULA, p 21
11
CINEKINK: NYC, Mar 2-5, p 31
7:30 EC: Stan Brakhage PGM,
p3
3
NEW AFA TICKET +
MEMBERSHIP PRICES
The time has come for Anthology’s ticket prices to increase (albeit ever
so slightly). We’re committed to remaining the most affordable repertory
cinema in New York City – but the times they are a-changin’, and our prices they
have a-remained the same for a long while. So, come January 1st, in order to sustain our
ambitious programming, we’ll be raising our ticket prices by $1 across the board:
General admission: $11
Students + seniors: $9
Essential Cinema programs: $9 (STILL FREE FOR MEMBERS)
AFA Members: $7
Our membership rates will be going up in the New Year as well:
$70 Individual
$125 Dual (within one household)
$50 Students & Seniors 65+
$150 Contributor
$300 Donor
$600 Sponsor
$1,000 Preservation
$3,000 Archival
For more info on the Membership levels and their benefits, please visit:
http://anthologyfilmarchives.org/support/membership
18
Bruce Conner’s TEN SECOND FILM, preserved by Anthology Film Archives.
SERIES
THE VAMPIRE LOVERS
SCREAM AND SCREAM AGAIN
AMERICAN INTERNATIONAL PICTURES, PART 3
January 28-March 21
The United States in the 1950s was a nation in the midst of seismic transformations. A time of postwar prosperity, an ever-increasing car culture, and the eclipse of movies by the
new medium of television, the era also brought the crystallization of a creature that had only recently emerged as a full-blown social and demographic phenomenon: the Teenager.
Comprising an enormous segment of the nation’s population, teenagers represented, from the perspective of the merchants of entertainment, an audience ripe for exploitation.
Into this breach stepped American International Pictures, the independent film production house that looms large in the memories of anyone who grew up watching movies in the U.S.
in the 1950s-70s (or who find themselves drawn to that era today). Founded in 1954 (initially as American Releasing Corporation) by theater owner James H. Nicholson and attorney
Sam Arkoff, AIP seized on the teenage market – and its newfound natural habitat, the drive-in theater – with a vengeance. It was said that AIP was devoted more to quantity over quality,
speed over careful craft, and promotional ingenuity over production values (in many cases, Nicholson conceived of titles and designed posters first, and only later assigned the projects
to a writer). But the company was responsible for dozens of films of astonishing energy and creativity, and became a breeding ground for some of the most extraordinary cinematic
talents of its time: Roger Corman produced and/or directed more than 40 films for the company, and filmmakers from Martin Scorsese and Francis Ford Coppola to Monte Hellman and
Peter Bogdanovich cut their teeth working on AIP productions.
Since July, Anthology has been presenting a multi-part series featuring films produced and/or distributed by AIP, demonstrating the astonishing variety of films handled by the company
and tracing the development of the various genres AIP pioneered, refined, or capitalized on. Past installments focused on its horror, sci-fi, juvenile delinquent, and biker films. Now, for
the third and final part of the series, we follow AIP into the 1970s, when the company (run by Sam Arkoff alone, following Nicholson’s death in 1972) turned its attention to the burgeoning blaxploitation genre, producing classics like BLACULA, COFFY, and FOXY BROWN, as well as unleashing a new breed of horror films that took advantage of the era’s increasingly lax
attitudes towards onscreen depictions of sex and violence. Rounding the series off are a motley selection of one-offs, curiosities, and uncategorizable oddities from AIP’s multifarious
catalog. In 1979, Arkoff would sell AIP to Filmways, Inc., bringing the company’s glorious run to an end. However, much of its spirit – and some of its personnel – would remain intact
for several years to come thanks to the company Roger Corman created when he departed AIP: New World Pictures…
Special thanks to Chris Chouinard (Park Circus) and Harry Guerro.
HORROR/SCI-FI:
Daniel Haller
Roy Ward Baker
THE VAMPIRE LOVERS
1970, 90 min, 35mm. With Sandra Dee, Dean Stockwell, and Ed Begley.
“IF YOU DARE…taste the deadly passion of the BLOODNYMPHS!”
Daniel Haller made his name at AIP as the Art Director on dozens of the company’s early films, including Roger
Corman’s BUCKET OF BLOOD, LITTLE SHOP OF HORRORS, and most of the celebrated Poe adaptations. He made
his directorial debut with the H.P. Lovecraft-inspired DIE, MONSTER, DIE!, and returned to Lovecraft for this followup. The story of a deranged, Necronomicon-obsessed man with an identical twin who may or may not have died
at birth, DUNWICH is distinguished by its bizarre cast: it stars fading ingénue Sandra Dee (GIDGET, IMITATION OF
LIFE), distinguished character actor Ed Begley (in his last screen role), and child actor-turned-countercultural
luminary-turned TV star Dean Stockwell, who gives an unforgettably creepy performance (almost as memorable
as his indelible appearance in BLUE VELVET).
1970, 91 min, 35mm. With Ingrid Pitt, George Cole, Kate O’Mara, and Peter
Cushing.
Though AIP bought several films from legendary British horror
studio Hammer Film Productions for distribution in the U.S., THE
VAMPIRE LOVERS was their only official co-production. Hammer’s fortunes were in decline at the time, its updated takes on
classic characters like Dracula, Frankenstein, and the Mummy
no longer seeming quite so modern in the age of increasingly
sophisticated, graphic, and/or sexually explicit horror films like
ROSEMARY’S BABY, NIGHT OF THE LIVING DEAD, and the work
of Herschell Gordon Lewis. In this context, a partnership with
AIP made perfect sense, and the result was a pioneering lesbian
vampire film (these vampires go for the breast, not the neck)
with the period setting and sumptuous décor of classic Hammer horror but the ample nudity and gore that AIP could gleefully
market to the drive-ins. Loosely based on a novella by gothic Irish
writer Sheridan Le Fanu and set in 19th century Austria, it stars
Polish-born horror icon Ingrid Pitt as an identity-shifting woman
who makes a habit of destroying noble families by seducing and
feasting upon their nubile young maidens, and Hammer axiom
Peter Cushing as the General determined to exterminate her.
–Thurs, Jan 28 at 7:00, Mon, Feb 1 at 9:00,
and Sat, Feb 6 at 9:00.
THE DUNWICH HORROR
“A few years ago in Dunwich a half-witted girl bore illegitimate twins. One of them was almost
human!”
–Thurs, Jan 28 at 9:00, Sun, Jan 31 at 7:00, and Fri, Feb 5 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Gordon Hessler
SCREAM AND SCREAM AGAIN
1970, 95 min, 35mm. With Vincent Price, Christopher Lee, and Peter Cushing.
“TRIPLE DISTILLED HORROR…as powerful as a vat of boiling ACID!”
SCREAM AND SCREAM AGAIN would be a must-see if only for its one-time-only, dream-team pairing of horror
icons Vincent Price, Christopher Lee, and Peter Cushing (though the three are never onscreen all at once). But far
from a gimmicky, victory-lap celebration, SCREAM is one of the best, most unusual horror movies of the period. A
genuinely chilling film with an intriguing, three-stranded narrative, it centers on a police inspector investigating a
pair of “vampire murders” who discovers that terrifying human experiments are being performed by a maniacal
doctor (Price). Though its three stars made their names as paragons of gothic horror, SCREAM transplants them
into the realm of the 1970s political thriller, combining elements of horror, sci-fi, and conspiracy-theory cinema,
and hinging on an astonishing, 10-minute-long chase scene through the streets of London.
–Fri, Jan 29 at 7:00, Sun, Jan 31 at 9:00, and Sat, Feb 6 at 7:00.
19
SERIES
THE FOOD OF THE GODS
THE ABOMINABLE DR. PHIBES
DAY THE WORLD ENDED
AIP, CONT’D.
THE ABOMINABLE DR. PHIBES
PLUS: SPECIAL SCREENING!
Roger Corman
“LOVE MEANS NEVER HAVING TO SAY
YOU’RE UGLY.”
1956, 82 min, 35mm, b&w. With Richard Denning, Lori Nelson, Adele Jergens, and
Mike Connors.
Bert I. Gordon
Robert Fuest
1976, 88 min, 35mm. With Marjoe Gortner, Pamela Franklin,
Ralph Meeker, and Ida Lupino.
1971, 93 min, 35mm. With Vincent Price & Joseph Cotten.
THE FOOD OF THE GODS
“H.G. Wells predicted rocket ships and space
travel in THINGS TO COME…nuclear energy and
the atom bomb in THE TIME MACHINE. Now…
the master of science fiction tells his most
frightening story.”
Directed by giant monster specialist Bert I. Gordon
(“Mister B.I.G.”), whose previous credits included
THE AMAZING COLOSSAL MAN (1957), WAR OF
THE COLOSSAL BEAST (1958), and VILLAGE OF THE
GIANTS (1965), among others, THE FOOD OF THE
GODS was Gordon’s first film for AIP in almost 20
years. It was also his second crack at the H.G. Wells
novel, after VILLAGE OF THE GIANTS. This time, he
assembled a cast including Hollywood legends Ralph
Meeker (KISS ME DEADLY, THE NAKED SPUR) and Ida
Lupino (HIGH SIERRA, ON DANGEROUS GROUND). But
of course it’s the giant vermin that take center stage,
with the protagonists menaced by towering rats,
worms, wasps, and other creatures.
–Fri, Jan 29 at 9:00, Tues, Feb 2 at
7:15, and Sat, Feb 6 at 5:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
William Fruet
DEATH WEEKEND aka THE HOUSE
BY THE LAKE
1976, 87 min, 35mm. With Brenda Vaccaro, Don Stroud, and
Chuck Shamata.
“SO PRIVATE YOU CAN DO ANYTHING YOU
WANT…ANYTHING!”
Ivan Reitman gained fame in the late 1970s and 80s
for comedy classics like ANIMAL HOUSE, STRIPES,
GHOSTBUSTERS, and many others. But before that
he produced several horror films in his native Canada, including two that would be distributed in the
U.S. by AIP: the 1973 satire CANNIBAL GIRLS (screening here in February) and this decidedly uncomical
rape-revenge thriller. Brenda Vaccaro stars as a
model whose questionable decision to accompany
a sleazy doctor to his country home suggests an
inability to look after herself – a notion that’s soon
dispelled by the survival skills she summons to fend
off an attacking gang of backwoods locals, led by
grindhouse axiom Don Stroud. Vaccaro’s tough-asnails performance and William Fruet’s no-nonsense
direction distinguish DEATH WEEKEND as a superior
exploitation thriller.
–Sat, Jan 30 at 5:00, Mon, Feb 1 at
7:00, and Sun, Feb 7 at 9:00.
20
“Vincent Price stars in what is, quite possibly,
the ultimate ‘Vincent Price’ movie, one that
practically cemented the actor’s public and professional identity as the actual personification of
all things horror. [He] plays Dr. Anton Phibes, a
mysterious figure who is systematically hunting
down and disposing of a team of doctors that he
feels were responsible for the untimely death of
his beloved wife. […] The gimmick here is that
Phibes dispatches his victims in a spectacular
variety of gruesome and bizarre ways, all of which
are based on ten biblical curses. Directed in a
bright, colorful, and campy visual style by former
art director (and frequent director of the similarly
peculiar TV series THE AVENGERS) Robert Fuest,
DR. PHIBES is a fast-paced, super-stylish black
comedy that boasts some extremely memorable,
often eerie, set pieces…. Possessing a particularly gleeful and nasty sense of humor, the movie,
set in the mid-1920s, comes across almost like
a live action version of the artwork of Edward
Gorey.” – Eric Weber, TCM
–Sat, Jan 30 at 7:00, Thurs, Feb 4
at 7:00, and Sun, Feb 7 at 5:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Robert Fuest
DR. PHIBES RISES AGAIN
1972, 89 min, 35mm. With Vincent Price, Robert Quarry,
and Peter Cushing.
“THEY HAVEN’T BUILT THE COFFIN THAT
CAN HOLD HIM.”
After THE ABOMINABLE DR. PHIBES proved enormously successful, AIP naturally rushed a sequel
into production, reuniting director Robert Fuest
and star Vincent Price (asked how Dr. Phibes
could return after embalming himself at the end
of the first film, Price once responded, “He disembalmed himself”). This time Dr. Phibes’s quest
to resurrect his beloved wife takes him to Egypt
in search of a Pharaoh’s tomb and the Rivers of
Life that will bring her back to him. Joining for the
sequel are Hammer horror regular Peter Cushing and Robert Quarry, fresh off the success of
COUNT YORGA, VAMPIRE, and destined to appear
in several later AIP films.
–Sat, Jan 30 at 9:00, Thurs, Feb 4
at 9:00, and Sun, Feb 7 at 7:00.
DAY THE WORLD ENDED
“THE SCREEN’S NEW HIGH IN NAKED SHRIEKING TERROR!”
The very first sci-fi film that Roger Corman directed, DAY THE WORLD
ENDED was also highly significant for AIP insofar as it was one half
(with THE PHANTOM FROM 10,000 LEAGUES) of their first double-bill,
a strategy they devised in order to compete with the majors and that
proved enormously successful. Shot in widescreen, it takes place
in a world decimated by nuclear holocaust. Few have survived, and
among those who have, some have been transformed into carnivorous
mutants. With resourceful and inventive monster makeup and visual
effects by Paul Blaisdell (who also worked on THE BEAST WITH A
MILLION EYES, INVASION OF THE SAUCER MEN, and many other AIP
and Corman films), a vivid supporting performance by Adele Jergens,
and the uncondescending approach that Corman would soon become
known for, DAY THE WORLD ENDED is a prime example of AIP’s early
output.
–Sun, Jan 31 at 5:00, Tues, Feb 2 at 9:15, and
Fri, Feb 5 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
AIP ODDITIES:
Roger Corman
BLOODY MAMA
1970, 91 min, 35mm. With Shelley Winters, Robert De Niro, and Bruce Dern.
“YOU GOTTA BELIEVE…YOU GOTTA HAVE FAITH…BUT FIRST,
YOU GOTTA GET RID OF THE WITNESSES!”
“Roger Corman’s 1970 retelling of the story of Ma Barker and her three
loony sons in Depression-era America is completely out of control, but
the smash-and-grab stylistics are exhilarating. Lots of violence and
weird sexual innuendo, backed by a big, blustery performance from
Shelley Winters as Ma and a young supporting cast to whom time has
been very kind: Robert De Niro, Don Stroud, Robert Walden, and Bruce
Dern.” –Dave Kehr, CHICAGO READER
–Fri, Feb 19 at 7:00, Sun, Feb 21 at 9:00, and
Sat, Feb 27 at 5:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Vernon Zimmerman
UNHOLY ROLLERS
1972, 88 min, 35mm
“A LOCKER ROOM LOOK AT THE TOUGHEST BROADS IN THE
WORLD!”
Vernon Zimmerman boasts a peerlessly strange filmography: his early
films include two underground shorts starring the great Taylor Mead
(TO L.A. WITH LUST and LEMON HEARTS), while he later directed the
Terence Malick-scripted trucker comedy DEADHEAD MILES (the first
feature film for which Malick earned a credit). In between, he made this
gleefully over-the-top portrait of the roller derby scene for AIP, a masterpiece of calculated bad taste that he called “GUN CRAZY on wheels.”
“UNHOLY ROLLERS is so bad it’s good. The film flaunts its uninhibited
love for everything decent folk call Bad Taste: traveling salesmen jokes,
SERIES
HEAVY TRAFFIC
tufted velvet sofas, STP decals, greaser rock, suede
hot pants, vinyl boots – and roller derbies. Zimmerman’s treatment of the derby subculture is realistic
in spirit and zest – but not in detail. UNHOLY ROLLERS is an exuberant, rococo, preposterous exaggeration of the skating lifestyle. […] Zimmerman’s
approach is that of a physician giving electroshock
treatments to a cadaver. He keeps hyping the trite
and familiar exploitation plot with jolts of gratuitous
sex and violence, vulgar wisecracking, incongruous
actions, riotous sounds and colors. And in the end
Zimmerman’s shock treatments are much more
exciting than the forgettable story line, and, in fact,
give the film a unique personality. […] It’s hard,
fast, and vulgar, full of life and personality.” –Paul
Schrader, FILM QUARTERLY
–Fri, Feb 19 at 9:00, Sun, Feb 21 at
5:00, and Sat, Feb 27 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
William Witney
MASTER OF THE WORLD
1961, 102 min, 35mm. With Vincent Price, Charles Bronson,
and Henry Hull.
“Robur the Conqueror and his amazing flying
warship…destroyer of the armies and the
navies of the world…the fabulous adventures
of the man who conquered the earth to save
it!”
Made in the wake of AIP’s enormously successful
series of Edgar Allan Poe adaptations, MASTER OF
THE WORLD is adapted from a pair of Jules Verne
novels, and features the star of the Poe films,
Vincent Price, alongside a young Charles Bronson
(whose first leading role came a few years earlier,
in AIP’s MACHINE-GUN KELLY). Price is a mid-nineteenth century millionaire whose admirable quest to
eliminate war and conflict from the globe is undercut by his curious strategy for achieving peace: to
use his self-constructed airship to bomb all military
installations to smithereens. Eager to consolidate
its newfound respectability, AIP devoted its largest
budget to date to MASTER OF THE WORLD, while
entrusting the project to the under-appreciated journeyman William Witney (today a favorite of Quentin
Tarantino’s). The result is a strange combination
of big-budget spectacle and typical AIP cornercutting, and ultimately a fascinating film, both for its
paradoxical portrait of a mad peacenik and for the
bizarre clash between the disparate acting styles of
Price and Bronson.
–Sat, Feb 20 at 5:00, Thurs, Feb 25
at 6:45, and Sun, Feb 28 at 8:45.
CANNIBAL GIRLS
BLACULA
Ralph Bakshi
BLAXPLOITATION:
1973, 77 min, 35mm
William Crain
HEAVY TRAFFIC
“More spice…from the makers of FRITZ THE CAT.”
“Ralph Bakshi moves beyond the ersatz animalism of Fritz the Cat
to the real-life animalism of New York’s Lower East Side in this
hilarious, grotesque cartoon/live-action feature, a pinball player’s
fantasy equivalent of Hubert Selby’s LAST EXIT TO BROOKLYN.
Bakshi manages to offend nearly everyone from transvestites to
mafiosi, but the comic distancing achieved by his army of animators manages to bring off a most difficult kind of humor: the humor
of pain and despair.” –Don Druker, CHICAGO READER
–Sat, Feb 20 at 7:00, Thurs, Feb 25 at 9:00, and
Sat, Feb 27 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Ivan Reitman
CANNIBAL GIRLS
1973, 107 min, 35mm. With Eugene Levy, Andrea Martin, and Ronald Ulrich.
“THE PICTURE WITH THE WARNING BELL! When it rings –
close your eyes if you’re squeamish!”
This Canuxploitation horror parody has a bizarre pedigree –
produced by Ivan Reitman, who would become a juggernaut as
a producer and director of Hollywood comedies but who in this
period was producing (mostly straight) horror films and thrillers
in Canada (see DEATH WEEKEND above), it stars Eugene Levy and
Andrea Martin, both of whom would soon enter the pantheon of
comedy greats as two of the linchpins of SCTV. Levy and Martin
play a couple on a romantic holiday who settle into a quaint little
bed-and-breakfast run by a trio of flesh-eating ladies who fancy
them for tomorrow’s menu. AIP picked up CANNIBAL GIRLS for
distribution in the U.S., and was responsible for its loopiest grindhouse gimmick: a warning bell that, in advance of the gory parts,
alerts squeamish viewers to close their eyes.
–Sat, Feb 20 at 9:00, Fri, Feb 26 at 7:00, and
Sun, Feb 28 at 6:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Joseph Ruben
JOYRIDE
1977, 92 min, 35mm. With Desi Arnaz, Jr., Robert Carradine, Melanie Griffith,
and Anne Lockhart.
“Did you ever want to just shove it and leave it all behind?
JOYRIDE – It was fun…while it lasted!”
This early film by Joseph Ruben, who would go on to direct
1980s classic THE STEPFATHER, is a gripping story of two young
couples who head out to Alaska looking for adventure but instead
find themselves slipping into a life of crime. A mixture of road
movie, crime film, and working class drama, with an Electric Light
Orchestra-dominated soundtrack, JOYRIDE is a typically (for the
1970s) textured and human-scaled film with a palpable sense of
place (albeit with the Pacific Northwest standing in for Alaska). It’s
also distinguished by its stunt casting, with all four protagonists
played by second-generation Hollywood royalty.
–Sun, Feb 21 at 7:00, Fri, Feb 26 at 9:15, and
Sun, Feb 28 at 4:30.
BLACULA
1972, 93 min, 35mm. With William Marshall, Vonetta McGee, and
Denise Nicholas.
“BLOODSUCKER! Deadlier than Dracula! Warm
young bodies will feed his hunger and hot, fresh
blood his awful thirst!”
AIP was quick to seize upon the burgeoning blaxploitation genre – within a year of the release of SWEET
SWEETBACK’S BAADASSSSS SONG and SHAFT, the
company produced Jack Starrett’s SLAUGHTER and
the now-classic BLACULA. Demonstrating AIP’s delight
in combining genres (and hence marketing opportunities), BLACULA is a blaxploitation horror film, with
18th-century African Prince Mamuwalde transformed
by Count Dracula into a vampire, only to be reawakened two centuries later by a pair of interior decorators, and unleashed on an unsuspecting Los Angeles.
The film transcends the commercial calculation of its
concept, thanks in large part to the performance of
the great William Marshall, an Actor’s Studio-trained
film, TV, and theater actor (he was celebrated for his
performances in numerous Shakespeare productions)
who had a long and fascinating career (including a
regular role on PEE-WEE’S PLAYHOUSE), but never
achieved the acclaim that he was due.
–Fri, Mar 11 at 7:00, Tues, Mar 15 at
9:15, and Sat, Mar 19 at 5:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Larry Cohen
BLACK CAESAR
1973, 94 min, 35mm. With Fred Williamson. Music by James
Brown.
“HAIL CAESAR, Godfather of Harlem! …The Cat
with the .45 caliber Claws!”
Larry Cohen’s second film as a director (after years
working as a screenwriter), BLACK CAESAR traces
the rise to power of Tommy Gibbs, who, motivated in
part by a brutal assault at the hands of a racist cop,
becomes the reigning head of organized crime in
Harlem. Fashioned after the classical gangster film,
but fully embracing the social and political implications generated by transposing the familiar narrative
to a 1970s African-American milieu, BLACK CAESAR
is graced with an unforgettable score by James Brown
and a titanic lead performance from Fred Williamson.
–Fri, Mar 11 at 9:00, Mon, Mar 14 at
7:00, and Mon, Mar 21 at 9:00.
–continues on page 22–
21
SERIES
BLACK MAMA, WHITE MAMA
COOLEY HIGH
AIP, CONT’D.
Eddie Romero
Jack Hill
Michael Schultz
1973, 87 min, 35mm. With Pam Grier, Margaret Markov, and
Sid Haig. Story by Jonathan Demme.
1974, 91 min, 35mm. With Pam Grier.
1975, 107 min, 35mm. With Glynn Turman, Lawrence Hilton-Jacobs, Garrett
Morris, and Cynthia Davis.
BLACK MAMA, WHITE MAMA
“CHICKS IN CHAINS – where they come from,
this is…FUN!”
Yet another example of AIP’s enthusiasm for grafting together different genres, BLACK MAMA, WHITE
MAMA combines elements of blaxploitation with
another strain of exploitation cinema popular at the
time, the women-in-prison film. Directed by prolific
Filipino filmmaker Eddie Romero (who directed
political dramas in between churning out potboilers for AIP), and co-written by a young Jonathan
Demme, it stars the queen of 1970s genre cinema,
Pam Grier, as a tough former prostitute locked
up on trumped-up drug charges, and Margaret
Markov, as a Patty Hearst-like rich-girl-turnedrevolutionary. Imprisoned in a tropical country and
terrorized by a sadistic matron, the two escape
when their prison convoy is attacked by Karen’s
fellow radicals, only to find themselves chained
together and on the run from a host of pursuers.
–Sat, Mar 12 at 5:00, Mon, Mar 14
at 9:00, and Sat, Mar 19 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Jack Hill
COFFY
1973, 90 min, 35mm. With Pam Grier.
“She’s the ‘GODMOTHER’ of them all…The
baddest One-Chick Hit-Squad that ever hit
town!”
“It is in COFFY where the Jack Hill/Pam Grier collaboration begins to hit its stride. Pam Grier stars
[as] a woman seeking revenge on the drug dealers
who got her little sister hooked on H. As the Roy
‘Ubiquity’ Ayers soundtrack kicks in (‘Coffy is the
color of your skin/Coffy is the color of the world you
live in…’) you know you’re about to witness a classic of 70s blaxploitation. And the picture delivers
like Karl Malone, coming at you with big fros and
big bellbottoms, righteous violence, a pimp named
King George, and several scenes of Grier in all her
And-God-Created-Pam glory.” –George Pelecanos
–Sat, Mar 12 at 7:00, Thurs, Mar 17
at 9:00, and Sun, Mar 20 at 4:45.
22
FOXY BROWN
“Don’t mess aroun’ with…FOXY BROWN.
She’s the meanest chick in town! She’s
brown sugar and spice but if you don’t
treat her nice…she’ll put you on ice!”
In this follow-up to COFFY (it was initially
intended to function as a true sequel – entitled
BURN, COFFY, BURN! – until AIP ordained at the
last minute that it should stand alone), Grier is
intent on revenge against those responsible for
the murder of her government agent boyfriend.
Tracing the perpetrators to a modeling agency
that’s a front for sex trafficking, she goes undercover as a prostitute, and soon gets busy meting
out justice to an array of sexual offenders.
–Sat, Mar 12 at 9:00,
Tues, Mar 15 at 7:15, and
Mon, Mar 21 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Paul Maslansky
SUGAR HILL
COOLEY HIGH
“WHERE THE STUDENT BODY WAS A CHICK NAMED
VERONICA…the Senior Prom was a ‘belly rub’ and the Class
of ’64 ran a permanent crap game in the Men’s Room!”
One of the few AIP blaxploitation movies made with an AfricanAmerican director at the helm, COOLEY HIGH ranks with the classic
American high school films. Indeed, to call it ‘blaxploitation’ is to
unjustly pigeon-hole it – based on an autobiographical screenplay
by Eric Monte, co-creator of the sitcoms GOOD TIMES and WHAT’S
HAPPENING, it’s a hilarious, sharply observed, and vibrant comingof-age film. Monte’s screenplay drew from his memories of attending the real-life Cooley Vocational High School in Chicago, and this
deeply-felt personal dimension is evident throughout, without for
a moment interfering with the film’s sheer entertainment value.
Director Michael Schultz would go on to make several films with
Richard Pryor, including the great CAR WASH, and remains active as
a prolific television director.
–Sun, Mar 13 at 6:45, Fri, Mar 18 at 9:00, and
Sun, Mar 20 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
1974, 91 min, 35mm. With Marki Bey and Robert Quarry.
Arthur Marks
“Meet SUGAR HILL and her ZOMBIE HIT
MEN…The Mafia has never met anything
like them!”
1976, 96 min, 35mm. With Glynn Turman, Louis Gossett Jr., and Joan Pringle.
AIP had early on combined blaxploitation and
horror; with SUGAR HILL they extended the
formula to encompass the zombie film. The
striking Marki Bey stars as Sugar, who vows to
take revenge against the mobsters who killed
her nightclub entrepreneur boyfriend. Since
Pam Grier isn’t available, Sugar instead enlists
the aid of a voodoo high priest, and soon she’s
embarking on her violent crusade with undead
army in tow. SUGAR HILL is the only film directed
by successful film producer Paul Maslansky,
who would go on to launch the POLICE ACADEMY series in the 1980s. That may seem like an
irredeemable offense, but SUGAR HILL holds up
as an inventive, one-of-a-kind film with a great
funk soundtrack and some genuinely unnerving
zombies.
–Sun, Mar 13 at 4:45,
Thurs, Mar 17 at 7:00, and
Sat, Mar 19 at 9:00.
J.D.’S REVENGE
“THE REINCARNATION OF J.D. WALKER. He came back from
the dead to possess a man’s soul, make love to his woman,
and get the Vengeance he craved!”
“Issac is a quiet young taxi driver going to law school in New
Orleans. One night, while out on a double date with his best friend,
he’s possessed by the spirit of J.D. Walker, a street thug who
was murdered with his sister in the early forties. J.D. is out for
vengeance, and he’ll destroy Issac’s life trying to get it. He slowly
takes over Issac’s mind, and then takes off after the two brothers
responsible for his death and the death of his sister. Even with its
supernatural metaphysics J.D.’S REVENGE could have been called
‘Blaxi Driver,’ because Issac’s transformation into J.D. [is] a literal
manifestation of the same historical reversion to which Travis Bickle
succumbs. The underlying social conditions for the two characters
are different, but their response to the intense pressures of the
mid-70s urban milieu are remarkably similar. Each finds a historical ‘type’ that expresses their current spiritual crisis, and then they
manifest a violent revenge fantasy that leads to a personal rebirth
as their ‘true’ selves.” –RANDOMANIAC
–Sun, Mar 13 at 9:00, Fri, Mar 18 at 7:00, and
Sun, Mar 20 at 9:00.
SERIES
MODERN ROMANCE
HEARTBREAK KID
VALENTINE’S DAY MASSACRE 2016
February 11-14 • ALL ON 35MM!
Anthology continues our cherished tradition of celeb(/denig)rating Valentine’s Day by presenting a toxic yet sublime pairing of two radically anti-romantic (and save for their tone,
virtually identical) films: Maurice Pialat’s grueling, autobiographical study of a dysfunctional off-and-on relationship, WE WON’T GROW OLD TOGETHER, and Albert Brooks’s hilarious
yet no less painful MODERN ROMANCE, along with a gut-punch chaser of Andrzej Zulawski’s POSSESSION, a batshit crazy depiction of an imploding marriage that’s perhaps the
masterpiece of dysfunctional relationship films.
Last year we threw a fourth film into the mix, and this year we’re devoting this pinch-hitter slot to Elaine May’s THE HEARTBREAK KID, which in the spirit of Valentine’s Day Massacre
is at once a hilariously funny and bitterly corrosive depiction of male/female relations. In our humble opinion, Elaine May and Albert Brooks represent the Queen & King of mercilessly
dark 1970s comedy, and it’s high time their respective masterpieces were paired.
For all the bitter, resentful cynics out there, what better way to spend Valentine’s than with the strong medicine of a Pialat/Brooks/Zulawski triple-feature (with a HEARTBREAK KID
chaser)? And for those couples who want to put their relationship to the ultimate test, here’s your chance – if you spend this weekend at Anthology and your relationship survives,
you’ve truly found your life partner.
Thanks to Brian Block (Bleeding Light Film Group), Paul Ginsburg (Universal), Michael Horne & Christopher Lane (Sony), and Jacob Perlin (The Film Desk).
Maurice Pialat
Elaine May
NOUS NE VIEILLIRONS PAS ENSEMBLE
1972, 106 min, 35mm. With Charles Grodin, Cybill Shepherd, Jeannie Berlin, and Eddie Albert.
WE WON’T GROW OLD TOGETHER /
1972, 110 min, 35mm. In French with English subtitles. With Jean Yanne & Marlene Joubert.
“Far from viewer-friendly, [this film] tells the story of the endless breakups and
makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love
story told in inverted terms, depicting the protracted end of a five-year affair, with its
arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays
of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never
succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker,
to his younger, working-class lover Catherine. ‘And do you know why? Because you
are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These
are the film’s most celebrated lines…a sort of brutalist alternative to the famous line
from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM
COMMENT
––Thurs, Feb 11 at 7:00 and Sat, Feb 13 at 4:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Albert Brooks
MODERN ROMANCE
1981, 93 min, 35mm. With Albert Brooks, Kathryn Harrold, Bruno Kirby, George Kennedy, and James L.
Brooks. Mint condition print courtesy of Sony Pictures.
MODERN ROMANCE may be Albert Brooks’s least-known film, but arguably it’s his
greatest – the most uncompromising and consistent, and, as restrained as it is on
the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks
is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of
the movie desperately trying to erase his mistake, and even more desperately trying
to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male
neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays
bare its protagonist’s insecurities with an honesty few dramatic films have achieved.
Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic.
Painfully funny, with the emphasis on ‘funny.’
––Thurs, Feb 11 at 9:15, Sat, Feb 13 at 7:00, and
Sun, Feb 14 at 4:00.
HEARTBREAK KID
“Were there film-historical justice in the world, THE HEARTBREAK KID would be
remembered as something more than a finger-jabbed-a-little-too-sharply-in-theribs footnote to THE GRADUATE. An excruciatingly hilarious masterpiece of modern
misanthropy, May’s second directorial outing stars Charles Grodin as a newlywed
who, not five days into his honeymoon, mercilessly dumps his bride (played, with
an Oscar-nominated mixture of hapless pathos and a double order of egg salad,
by May’s daughter, Jeannie Berlin) in order to pursue Cybill Shepherd’s teenage
Minnesota WASP princess. An anatomy of internalized rage, curdled misogyny, and
bottomless self-deception, May’s second film – as indeed do each of the four films
she directed – deserves better.” –Chuck Stephens, FILM COMMENT
–Fri, Feb 12 at 7:00 and Sun, Feb 14 at 8:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Andrzej Zulawski
POSSESSION
1981, 127 min, 35mm. With Isabelle Adjani, Sam Neill, and Margit Carstensen. Written by Andrzej
Zulawski & Frederic Tuten.
If you think the Pialat and Albert Brooks films depict romantic relationships in a
less-than-flattering light, behold Zulawski’s POSSESSION, in which the psychic
violence of the other two films in the series erupts into literal violence of the most
outrageous and over-the-top variety. A nihilistic, no-holds-barred portrait of a
disintegrating marriage, featuring highly stylized, career-best performances by
Isabelle Adjani and Sam Neill, POSSESSION starts as psychodrama, develops into
queasy supernatural horror, and ends up exploding all known genres. A film of
rampant and astonishingly sustained hysteria, its craziness equaled only by its
fecund imagination and deep conviction, POSSESSION is the definition of a film
that’s not for the faint of heart. It may just have the power to annihilate Valentine’s
Day once and for all.
–Fri, Feb 12 at 9:15, Sat, Feb 13 at 9:00, and
Sun, Feb 14 at 6:00.
23
SERIES
Eiko
WALLOW
DANSPACE PROJECT PRESENTS:
A BODY IN PLACES: EIKO AT ANTHOLOGY FILM ARCHIVES
February 17-March 23 • EIKO IN PERSON FOR ALL SCREENINGS!
This February and March, Danspace Project will showcase the work of dancer, choreographer, and performer Eiko with PLATFORM 2016: A Body in Places. Born and raised in postwar
Japan, Eiko has been based in New York for the past four decades. She is renowned in the realm of modern dance as one half of Eiko & Koma, who have created a unique and riveting
theater of movement out of stillness, shape, light, and sound, and have performed to great acclaim worldwide. Since 2014, Eiko has been working on a solo project titled “A Body in
Places.” She has performed in irradiated Fukushima, major train stations in New York and Philadelphia, and many other unusual sites such as a library, an observatory, and a warehouse.
As part of this special Platform, Anthology welcomes Eiko as guest-curator of a film series showcasing movies that have influenced her work and that speak to her chosen theme.
Encompassing narrative films such as THE BURMESE HARP, KANAL, and THE NAKED ISLAND, as well as several rarely-screened documentaries, the series pairs each feature film
with short works by Eiko, Eiko & Koma, and John Killacky, as well as with “Where She Has Been,” short excerpts shot and edited by Alexis Moh that document the “Body in Places”
project since its inception.
The films and videos in this series illuminate bodies in particular places. How are humans conditioned by the characteristics of places? How do we contribute to and survive the
characteristics of places? How do people move from one place to another, and by doing so, how do they leave traces and residues in the places they leave behind?
Danspace Project’s PLATFORM 2016: A Body in Places is a month-long multidisciplinary program that will illuminate and expand on Eiko’s solo project of the same title. In addition to
this film series, the Platform will include Eiko’s daily solo performances at various locations in the East Village, guest artist performances, installations, curated talks, a poetry reading,
a 24-hour exhibition in Danspace Project’s home at St. Mark’s Church, a book club, movement workshops, and a catalogue. For more information, visit: www.danspaceproject.org
The BODY IN PLACES film series is co-presented by Danspace Project and Anthology Film Archives, and co-organized by The Japan Foundation. Curated by Eiko,
who is also the author of all the film descriptions below. Eiko is grateful for the assistance of Alexis Moh throughout the planning and presentation of the Platform.
Special thanks as well to Lydia Bell and Judy Hussie-Taylor (Danspace Project) and to Kanako Shirasaki (Japan Foundation).
PROGRAM 1: A BODY IN MOURNING
Kon Ichikawa
THE BURMESE HARP
1956, 116 min, 16mm, b&w
I grew up in post-war Japan, devouring the works of those who experienced WWII.
Popular entertainment, from movies to manga, were also suffused with memories
of the conflict. However, we who did not experience it still did not really know how
people had killed and died in the war.
Soon after 9/11, I began thinking about how dying in mass violence is different from
dying from a disease or an accident. Why does it matter how we die? Then I realized that, however painful the process of dying, one who dies from a disease or
an accident is at least dying their own personal death. A personal death receives
personal attention. Mizushima, the protagonist of THE BURMESE HARP who attempts
to persuade his fellow soldiers to surrender to the British upon the end of the war,
witnesses countless corpses as he wanders through Burma and tells himself, “I cannot return to Japan.” Ichikawa described THE BURMESE HARP as the first film he
felt a profound need to make. Shot in Burma and Japan, it helped our generation to
actively imagine the war.
PROGRAM 2: BODIES IN WATER
We all come from water and water courses through our bodies. We are a bubble floating
down the river of life to the unknown. Water is both a source of life and a threat. When
water becomes a menace to our lives and senses, our existence is truly frightened.
Andrzej Wajda
KANAL
1956, 95 min, 35mm, b&w
With:
KANAL follows a near-decimated company of Polish resistance fighters as they make
a final effort to escape the encircling Nazis through the sewers of Warsaw. A merciless
view of their flight through the putrid waters, KANAL is a story void of glory and nearly
void of hope, where the desire for dignity, even survival, becomes faint. Wajda was an
important figure for our youth in Japan. When Eiko & Koma performed in the Manggha Museum of Japanese Art and Technology in 2007, founded by Wajda in Krakow,
Poland, we had the pleasure of meeting the filmmaker and telling him how his ASHES
AND DIAMONDS had had a special meaning for those of us who were student fighters
in the political movements of the late ‘60s. His KANAL inspired Koma and me in 1989
to create the work, CANAL, a work for several naked bodies, whose stage design suggested both urban sewers and the blood stream of a body.
Eiko & Koma and James Byrne UNDERTOW 1988, 7 min, 16mm, b&w
With:
UNDERTOW is a work choreographed for the camera. Eiko & Koma’s two naked bodies float in the space of an existential limbo.
–Wed, Feb 17 at 7:00.
Eiko & Koma WALLOW 1984, 19 min, video
WALLOW was our first attempt to create dance for a camera, shot in Point Reyes,
California.
–Wed, Feb 24 at 7:00.
24
SERIES
THE NAKED ISLAND
HUSK
PROGRAM 3: BODIES ON AN ISLAND
PROGRAM 5: BODIES IN A CROWD
Nakedness is my life-long theme: artistically, physically, and metaphorically.
THE NAKED ISLAND depicts the life of a family on a small island that barely
provides them with the means for subsistence. Like THE NAKED ISLAND, Eiko
& Koma’s “living installations” are place-based works. In a gallery, we create
another place where we exist and move as inhabitants.
I met Mura Dehn by accident soon after Koma and I arrived in New York. Surprised by how little
sense of rhythm I have as a dancer, Mura offered to teach me her “compromised version of jazz
dance for Eiko.” It is a quintessentially New York story of how two young Japanese artists in their
20s ended up inheriting from an old Russian Jewish friend the wealth of African American people
dancing their hearts out in the Savoy Ballroom of pre-war Harlem. In the sea of African Americans,
Mura was often the only white person dancing. She said the entire Savoy was bustling with dancing energy. One dancer in her film says, “Spirit moves me. When spirit leaves me I stop dancing.”
Kaneto Shindo
THE NAKED ISLAND
1960, 96 min, 35mm
The poetic, dialogue-free THE NAKED ISLAND is one of my favorite films. Shindo
created the first Japanese independent film production company in 1950 and
never returned to mainstream productions throughout his career, which lasted
until his death in 2012 at the age of 100. THE NAKED ISLAND is a model of low
budget filmmaking. The minimal cast and crew all camped out at the location,
sharing all the necessary labor. This method, which Shindo adhered to for most
of his career, deeply influenced generations of Japanese independent filmmakers. Depicting the life of a family on a small island in the gentle Seto Inland Sea,
it seems at first like a fable but its description of the surrounding society is in
fact a realistic one.
With:
Eiko & Koma HUSK 1987, 9 min, 16mm
HUSK is my solo; Koma was on camera. We wanted to create a dance poem of
an unnamed body in an unnamed place. The choreography of both body and
camera was created to make an unedited media work.
–Wed, Mar 2 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Mura Dehn
THE SPIRIT MOVES: A HISTORY OF BLACK SOCIAL DANCE ON FILM
1987, 119 min, 16mm
Dehn, born and first trained in dance in Russia, moved to Europe to study at the Isadora Duncan
School. Later she studied jazz and immigrated to the US in 1930. She found the most exciting jazz
dancing at the Savoy Ballroom in Harlem. First as a dancer, then as a filmmaker, she immersed
herself among the most brilliant African American dancers. Her magisterial, three-part documentary features her own narration.
With:
Eiko Otake A BODY IN A STATION 2015, 15 min, digital
An excerpt from Eiko’s performance at Fulton Center in Lower Manhattan in June 2015. Camera
by Alexis Moh; edited by Alexis Moh with Eiko.
–Wed, Mar 16 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 6: A BODY IN A CHAIR
I have long felt that dance does not belong only to the young, healthy, and athletic. Here are some
clear examples of old and challenged bodies dancing in mourning of the lost.
PROGRAM 4: BODIES IN MOURNING
Otsu Koshiro
MINAMATA: THE VICTIMS AND THEIR WORLD
2005, 100 min, digital
Noriaki Tsuchimoto
1971, 120 min, 16mm. This screening is co-organized by The Japan Foundation.
I grew up in postwar, post-occupation Japan, an era of rapid economic growth
accompanied by pollution and environmental hazards. It was clear that corporations did not care for much besides profit. Minamata is a city in southern
Japan that gave its name to a fatal disease caused by the most notorious
environmental hazard in Japan’s history. Fishermen, their families, and their
pets were the first victims to suffer from methylmercury poisoning by eating
fish harvested from the sea that, for 36 years, was contaminated by a fertilizer factory. The victims’ anger and their efforts to create normalcy within their
abnormal situation deliver a deep sense of urgency. That urgency also manifested in other resistance movements, which affected the ways in which some
of my own generation thought of the world and learned ways to live and fight.
With:
Eiko & Koma and James Byrne LAMENT 1985, 9 min, 16mm
We collaborated with James Byrne to create LAMENT in the mid-1980s when I
saw many colleagues and friends become sick and die of AIDS. To live is to witness the suffering of others, and to see the wrongs of the society that creates
this suffering. To acknowledge this suffering and to maintain mourning for it is
to willfully refuse to forget.
–Wed, Mar 9 at 7:00.
INNER MONOLOGUE
I studied with Butoh’s founder Kazuo Ohno in 1971-72 and again in 1975-76. He was always disappointed by my leaving for faraway places like Europe and the US. Having spent nine years in the
War, Ohno, upon his return, danced with urgency, perhaps also with remorse. In 1977, at the age of
70, he danced La Argentina, his homage to famed Spanish dancer La Argentina, whom he saw in
1929. He performed six seasons in New York, the last in December 1999 at the age of 93, his very
final concert abroad. He soon suffered a fall that advanced his Alzheimer’s. However, with the help
of his son Yoshito Ohno, he continued to dance on a chair, both in his studio and in the theaters of
various cities. Though his memories and steps were lost, his dancing clearly lived on in his body
and mind. Ohno danced and murmured, “If I cannot dance, why have I climbed this mountain?”
With:
John Killacky and Steve Grandell STOLEN SHADOWS 1996, 10 min, video
John Killacky DREAMING AWAKE 2003, 5 min, video
STOLEN SHADOWS is a black and white film lamenting on the mounting losses from the AIDS
pandemic. DREAMING AWAKE juxtaposes a narrator in a wheelchair with the movement of nude
dancers. A surgical mishap left Killacky paralyzed. He willed himself to re-learn and train his new
body.
EIKO AND JOHN KILLACKY WILL BE HERE IN PERSON TO INTRODUCE THE SCREENING!
–Wed, Mar 23 at 7:00.
25
SPECIAL SCREENINGS
A Nervous Magic Lantern Performance
SPECIAL BOOK LAUNCH EVENT!
KEYWORDS IN
SUBVERSIVE FILM/
MEDIA AESTHETICS
According to the book’s jacket copy, KEYWORDS
IN SUBVERSIVE FILM/MEDIA AESTHETICS (published by Wiley-Blackwell) “offers a conversational
journey through the overlying terrain of politically
engaged art and artistically engaged politics.
At once scholarly and entertaining, the book
combines a major statement on subversive aesthetics, a survey of radical film strategies, and a
comprehensive lexicon of concepts.” This evening,
co-authors Robert Stam, Richard Porton, and Leo
Goldsmith will be here in person for a special
presentation, in which they’ll explicate a representative selection of over a thousand concepts and
strategies discussed in the book. Topics to be surveyed will include aesthetics and “the Commons,”
the Carnivalesque and Festive-Revolutionary
Practices, the hybridization of documentary and
fiction, and aesthetic and political innovations
in the digital era. Excerpts from a wide range of
television satire, feature films, and video art will
be screened.
For more information on the book, visit:
bit.ly/keywordsAFA
–Tues, Jan 12 at 7:30.
TOTALLY 80s MOVIE FREAK OUT
ABSTRACT EXPRESSIONIST CINEMA:
KEN JACOBS / NERVOUS MAGIC LANTERN
FESTIVAL
January 22-24
Ken Jacobs has long been a restless innovator, and his rebellious projection performance apparatus known as the
Nervous Magic Lantern is a development that would not have been out of place in the pre-cinematic era of prestidigitation and exotic attractions. Working without film or electronics, the Nervous Magic Lantern uses lightweight fans and
an exterior spinning shutter – along with the hands and creative mind of an active projectionist – to fill the screen with
moving 3D forms that can be seen from every possible angle, no special glasses required. A breathtaking and all-around
mystifying head/body experience, Jacobs surmises that, “It’s the cinema that should’ve happened following live shadow
play.” After years of committed research and development, it is clearer than ever before that Jacobs’s Nervous Magic
Lantern is a direct outgrowth from his early training in the 1950s with abstraction pioneer Hans Hofmann. In a sense,
this latest body of work is as much a return to painting as it is another step deeper than ever before into the depths of
the moving image.
This January, as the first installment in what will be a once-a-calendar tribute to Ken Jacobs throughout 2016, Anthology
hosts an expansive Nervous Magic Lantern Festival, curated by the ensemble diNMachine. The series will feature an
incredible array of live performances from some of the most daring musicians working in New York today. In addition
to diNMachine (whose forthcoming full length album “The Opposites of Unity” is out January 22 via Greedy Dilettante
Records), performers will include guitar genius and drone meister Robert Poss; renowned composer/producer/performer
JG Thirlwell (Foetus); fearless new music ensemble Flux Quartet; Swedish composer/performer Adrian Knight with David
Lackner and Max Zuckerman (Blue Jazz TV, Synthetic Love Dream); Victoria Keddie, Co-Director of E.S.P. TV; experimental audio composers Rick Reed & Tara Bhattacharya; new-wave proto-punk voice and violin duo Sarah Bernstein
& Stuart Popejoy; melodic explorers Collapsible Shoulder; champions of structured and improvised rhythm, drone, and
noise Padtech; unique sound-exploration trio The Ghosts of the Holy Spermic Brotherhood; and textural electronic noise
composer Patrick Todd.
The festival will take place over three evenings, with four artists/groups performing each night. Each artist/group will take
the stage for a 20-minute set, during which Jacobs will project live with the Nervous Magic Lantern system. Each evening
will also feature an immersive video installation created by artist Ursula Scherrer, as well as the film RE: ENACT by Ron
Amstutz (featuring music by Michael Schumacher), which will be screened following the intermission.
For details on each night’s lineup, and for Ken Jacobs’s extended discussion of the Nervous Magic Lantern system, visit
anthologyfilmarchives.org.
–Fri, Jan 22 through Sun, Jan 24 at 8:00 each night.
TOTALLY 80S MOVIE FREAK OUT, PART 2: ELECTRIC BOOGALOO
The ultimate marathon of the ultimate movies from the ultimate decade is back…and this time it’s personal! Last year we thrilled you with six movies that showed exactly how
awesome the 80s could be. This year we’re going to stun you with gonzo gnarli-tude, showcasing a six-pack of the wildest, trashiest, most tripendicular crime, private eye, and
urban panic movies made between 1980-89. All six movies will be shown on 35mm and we won’t tell you the titles until they appear on the screen, but trust us: these movies
will blow you away…with an uzi! And two of them have never been available on DVD! We’ve got Gene Simmons at his most monstrous! We’ve got three times the Wings
Hauser, for three times the action! We’ve got the greatest giant monster movie ever made! The most mind-bending movie ever directed by the winner of TWO Pulitzer Prizes!
A buddy cop movie full of fast cars, big guns, and hot guitars! And a no-holds-barred, one-dark-night descent into urban squalor, vice, and sheer sweaty-palmed depravity
that’ll make your family pack up and move to the suburbs! If all you remember about the 80s is THE BREAKFAST CLUB, then it’s time to return to these neon-streaked city
streets and prove that you’re tuff…tuff enuff to win!
Tickets will be $25 for the whole marathon.
–Sat, Feb 13 from 12:30pm-11:00pm.
26
SPECIAL SCREENINGS
DEAD SHADOW
MILLENNIUM FILM JOURNAL SCREENING:
POLISH AVANT-GARDE CINEMA
Avant-garde film from Poland has an almost mythological reputation, largely due to the
activities of filmmakers associated with the Łódź Film Form Workshop, which peaked
in the 1970s. However, a recent book entitled THE STRUGGLE FOR FORM argues that
a distinctive strain of moving image experimentation by Polish artists began as early
as 1916 and continued at least until 1989 when their works began to merge into a
globalized ‘art world.’
THE CARPENTER
THE SECRET LIFE OF…
ANTHOLOGY FILM
ARCHIVES
A once-a-calendar opportunity to take a peek at the teeming hive
of creativity hiding behind the scenes at Anthology, thanks to the
film- and video-making efforts of AFA’s staff, friends, fellowtravelers, and devotees.
–Sun, Mar 27 at 9:30.
In concert with his review of THE STRUGGLE FOR FORM, published in the most recent
issue of the Millennium Film Journal (MFJ 62), Andrzej Jachimczyk has curated this
special one-program survey of Polish avant-garde cinema, beginning with a 1937 film
by the Themersons and a formal experiment by Andrzej Pawłowski, followed by an
example of the Moral Angst Cinema by Wojciech Wiszniewski and two films made under
the auspices of the Film Form Workshop. The third part of the program contains an existential contemplation by Andrzej Klimowski and a social critique by Hieronim Neumann,
and ends with a 1997 documentary by the film visionary Kazimierz Karabasz. Though
Polish avant-garde cinema is often considered to embrace a rigidly formalist position,
this program suggests that changes in political climate have as significant an influence
as aesthetic prerogatives on the methods and ideas of moving image artists. Though
none of the works can be definitively categorized, the program includes fictional, animation, and documentary approaches to film.
For more info on the Millennium Film Journal, visit www. mfj-online.org.
Thanks to Andrzej Jachimczyk and Grahame Weinbren, as well as to the Polish Cultural Institute New
York, the National Audiovisual Institute, the Adam Mickiewicz Institute, the National Film Archive in
Poland, and Michał Oleszczyk, Artistic Director of the Gdynia Film Festival.
Franciszka & Stefan Themerson
THE ADVENTURE OF A GOOD CITIZEN, AN IRRATIONAL HUMORESQUE /
PRZYGODA CZŁOWIEKA POCZCIWEGO 1937, 10 min, 35mm-to-digital
Andrzej Pawłowski KINEFORMS / KINEFORMY 1957, 7 min, 35mm-to-digital
Józef Robakowski TEST I 1971, 5 min, 35mm-to-digital
Zbigniew Rybczyński NEW BOOK / NOWA KSIAŻKA 1975, 10 min, 35mm
Wojciech Wiszniewski THE CARPENTER / STOLARZ 1976, 13 min, 35mm
Andrzej Klimowski DEAD SHADOW / MARTWY CIEŃ 1980, 10.5 min, 35mm
Hieronim Neumann BLOCK / BLOK 1982, 9 min, 35mm
Kazimierz Karabasz PORTRAIT IN A DROP OF WATER /
PORTRET W KROPLI 1997, 22 min, video
Total running time: ca. 90 min.
–Thurs, Feb 18 at 7:30.
27
NEWFILMMAKERS
NEWFILMMAKERS NY SERIES
The NewFilmmakers Screening Series selects films and videos often overlooked by traditional film festivals. The NewFilmmakers Series began in 1998 and over the past sixteen
years has screened over 800 features and 3,000 short films. In 2002 we started NewFilmmakers Los Angeles. Many well-known shorts and features have had their initial screenings
at NewFilmmakers, including THE BLAIR WITCH PROJECT and TOO MUCH SLEEP.
NewFilmmakers LA now screens monthly at the AT&T Center. Recently we began NewFilmmakers Online, which gives filmmakers the opportunity to exhibit and distribute their films
directly to the public. NewFilmmakers also programs the Soho House Screening Series in New York & Los Angeles.
Programs are subject to change; check our schedule online at www.NewFilmmakers.com for updated information. NewFilmmakers is sponsored by Barney Oldfield Management,
Angelika Entertainment, Prophet Pictures, SXM, and H2O Distribution.
Please note that the NewFilmmakers series is not programmed or administered by Anthology Film Archives staff; for further information, please address
questions via telephone or email as listed below.
NEWFILMMAKERS NY FILM SCHOOL SERIES
NewFilmmakers regularly invites leading film schools to present films and to discuss their programs with potential students.
NEWFILMMAKERS NY SPECIAL PROGRAM SERIES
Our Special Series give new filmmakers a chance to reach their audiences. The NewLatino Series is now in its 11th year. We also present Middle East NewFilmmakers; a Women
Filmmakers Series; an Animation Screening Series; and a Gay/Lesbian Screening Series; as well as ongoing programs curated by Third World Newsreel.
NEWFILMMAKERS NY ROUGH CUTS
Every season we give filmmakers the opportunity to see their film on the screen before a live audience. There is a special application for our Rough Cuts series on our website:
www.newfilmmakers.com.
SUBMIT YOUR FILM/VIDEO
For more information and an application form write us or visit us at www.newfilmmakers.com. Films can be submitted directly on www.newfilmmakers.com or
www.withoutabox.com.
CONTACT INFORMATION:
Bill Woods, New York Director
Larry Laboe, Los Angeles Director
Bill Elberg, NewFilmmakers Online Co-Director
Jessica Canty, NewFilmmakers Online Co-Director
NEWFILMMAKERS BEGINS ITS
WINTER SERIES WITH A PARTY
AND A NIGHT OF SHORT FILMS AND
YOUNGFILMMAKERS
SPECIAL PROGRAM
NewFilmmakers begins its Winter season with an
acceptance reception.
YOUNGFILMMAKERS SHORT FILM PROGRAM
ChiHyun Lee ZOE (2015, 2 min, video)
Chen Chang TINY POWER (2015, 3 min, video)
Thaddaeus Andreades, Nicholas Manfredi, Elizabeth
Ku-Herrero, Marie Raoult TAKING THE PLUNGE (2015, 7
min, video)
Ao Li OLILO (2015, 6 min, video)
Minyu Lin SAVE MY SOUL (2015, 10 min, video)
Thomas Rivera Montes ACT ZERO (2015, 14 min, video)
Lexi St. John BOUND (2015, 20 min, video)
YOUNGFILMMAKERS FEATURETTE
Andrew Meyer WRECK (2015, 47 min, video)
Stephen Nachamie WINNING NEW YORK (2015, 33 min,
video)
Jim Ho FIND THE MONEY (2015, 30 min, video)
–Wed, Jan 6 at 6:00, 7:00 & 8:15.
Edwin Pagan, NewLatino Programming
Lili White, Women’s Programming
Tova Beck-Friedman, Experimental Films
Brandon Ruckdashel, Marketing Director
NEWFILMMAKERS PRESENTS AN ART
FILM PROGRAM
NEWFILMMAKERS PRESENTS
IRANIAN SHORT FILMS
FIRST SHORT FILM PROGRAM
FIRST SHORT FILM PROGRAM
Daniel Roemer DR. PEPPER ATOMIC BOMB CLUB BAND
(2015, 2 min, video)
Christopher Ward HAZZARD’S CURE (2015, 5 min, video)
Tony Burke THE FOX (2011, 5 min, video)
Adam Bedient SOUNDS OF NO TIME (2015, 14 min,
video)
Salvatore Tassone COLORS OF LOVE (2014, 22 min,
video)
Films from Iranian filmmakers
SECOND SHORT FILM PROGRAM
Meng Guo BACK TO THE ROARING TWENTIES (2015, 3
min, video)
Ariana Delawari ENTELECHY (2015, 10 min, video)
Pimont Kelvin IF ONLY (2015, 11 min, video)
Eduardo Rufeisen A MOVIE SET (2015, 14 min, video)
Masha Shpolberg A FEW MORE MISTAKES: NOEL AT
NINETY (2015, 20 min, video)
FEATURE PRESENTATION
Victor Kanefsky
ART BASTARD
2015, 81 min, video
What is art and how does it relate to society? Is its value
determined by its popularity or originality? Is the goal
profit or expressing one’s personal vision? These are
some of the questions raised as we follow fiercely independent NY artist Robert Cenedella in his artistic journey
through decades of struggling for creative expression.
ART BASTARD is a funny, touching, and insightful look
inside the maverick mind of a true original.
–Wed, Jan 13 at 6:00, 7:00 & 8:15.
28
Barney Oldfield, Executive Producer
Tel: 323-302-5426
info@newfilmmakers.com
610 Fifth Avenue #4956, New York, NY 10185-4956
SECOND SHORT FILM PROGRAM
Jonathan Rattner THE INTERIOR (2015, 24 min, 16mm)
Jim Loperfido LACROSSE STICKMAKER (2015, 42 min,
video)
FEATURE PRESENTATION
Jerome Thelia
BOUNCE: HOW THE BALL TAUGHT THE
WORLD TO PLAY
2015, 72 min, video
Based on the book by anthropologist John Fox, THE
BALL: DISCOVERING THE OBJECT OF THE GAME, this
film – equal parts science, history, and visual essay –
explores the biological and cultural influences that drive
the evolution of our ball games.
FEATURETTE PRESENTATION
Michael Altino
65 PERCENT
2015, 63 min, video
This film was made in recognition of the dire need to
spread awareness on the importance of organ donation.
–Wed, Jan 20 at 6:00, 7:00, 8:15 &
9:45.
NEWFILMMAKERS
NEWFILMMAKERS PRESENTS A
PROGRAM CURATED BY ALUMNUS
DAPHNE MACY
NEWFILMMAKERS PRESENTS OUR
ANNUAL VALENTINE’S DAY PROGRAM
FIRST SHORT FILM PROGRAM
Ash Mayfair WALKING THE DEAD (2015, 8 min, video)
Jordan Bielsky NOT A LOVE STORY (2015, 10 min, video)
Micah Chartrand TEDDY (2015, 13 min, video)
Ed Hellman DIME CRIMES #34 (2015, 19 min, video)
Hamoody Jaafar THE PAILLARD OF THE COMMUNITY
(2015, 18 min, video)
SECOND SHORT FILM PROGRAM
SECOND SHORT FILM PROGRAM
FIRST FEATURETTES PROGRAM
Stephen Petrillo
THE LUCKY ONES
On Fitting In, curated by Daphne Macy
Ruby Flores LADY JANE (2015, 3 min, video)
Samuel Kiehoon Lee THAT’S THE WAY THE BALL
BOUNCES (2013, 7 min, video)
Lukáš Hrdý SUPERMAN (2012, 7 min, video)
David Koh BARE (2015, 5 min, video)
Daphne Macy FOOTSTEPS OF A MERMAID (2015, 7 min,
video)
Micaela Silberstein SHARP SHOOTER (2014, 15 min,
video)
SECOND SHORT FILM PROGRAM
Women Filmmakers
Stephanie Bollag SHADOW BOXER (2015, 3 min, video)
Charlotte Sclapari NEW GUARDS (2015, 4 min, video)
Angela Atwood FREEBIE (2015, 9 min, video)
Morgan Lynch SWEPT (2015, 13 min, video)
Petol Weekes GLASS FLOWERS (2015, 18 min, video)
Jessika Pilkes CHASING LIGHT (2015, 24 min, video)
FEATURE PRESENTATION
Stavroula Toska
BENEATH THE OLIVE TREE
2015, 76 min, video
Secret journals buried for decades tell the courageous
stories of women political exiles during Greece’s tumultuous Civil War (1946-49). The filmmaker draws a line
between the past and present as she discovers her own
family’s secrets and looks at what is happening in the
world from a new perspective.
–Wed, Jan 27 at 6:00, 7:00 & 8:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS
YOUNGFILMMAKERS FEBRUARY
PROGRAM AND SHORT STORIES
FIRST SHORT FILM PROGRAM
Michael Piantini BAY OF PIGS (2015, 5 min, video)
Angie Hawes MIND GAME DEMON (2015, 7 min, video)
Tayana Brumaire MEMORIES OF US (2015, 9 min, video)
Jacob Mariani MARRIAGE TOOLS (2015, 9 min, video)
Nihal Dantluri PARALLEL (2015, 6 min, video)
SECOND SHORT FILM PROGRAM
Short Stories
Thomas Mendolia LETHE AVENUE (2015, 5 min, video)
Jonathan Cortizo BEFORE AND AGAIN (2014, 8 min,
video)
Roee Messinger DRIFTING (2015, 10 min, video)
Alex Fjellberg Swerdlowe FROM HERE NOR THERE (2015,
11 min, 35mm)
Steven Bidwell THE BENCH PROJECT (2015, 33 min,
video)
FEATURE PRESENTATION
Dominic Perez
SAVING BORSHIA
2015, 110 min, video
After a group of aspiring filmmakers encounter a mysterious stranger in the middle of nowhere, they are faced
with a series of obstacles and conflicts that threaten their
sanity, their indie film production, and their very lives.
–Wed, Feb 3 at 6:00, 6:45 & 8:15.
FIRST SHORT FILM PROGRAM
Bonnie Wright KNOW THYSELF (2014, 8 min, video)
Snorri Sturluson THE EMPTY STREET (2015, 10 min, video)
Michael Miceli SOMEWHERE BETWEEN (2014, 13 min,
video)
Justin Ervin LEAP (2015, 13 min, video)
Andreas Blair REMEMBER PLATO? (2015, 15 min, video)
Oliver Singer AWOL (2015, 19 min, video)
FEATURE PRESENTATION
Ben Bindra SWEET AND SOUR CHICKEN (2015, 15 min,
video)
&
Joey Mosca BILL (2015, 14 min, video)
William Macaulay LAST CALL (2015, 14 min, video)
Lena Friedrich THE HERMIT (2015, 23 min, video)
Sandra Robinson AFFLICTION (2015, 10 min, video)
Mischa Auzins #3C (2013, 16 min, video)
Julian Vlcan DOUGH (2014, 21 min, video)
Ed Bergtold WHEN THE NIGHT FALLS (2015, 20 min,
video)
2015, 43 min, video
A coming-of-age tale that involves Leah, a disturbed
teenager with a fatal drug addiction who moves to a new
city with her mother in the hopes of starting clean with
Mckenzie, a girl stuck in an abusive relationship with an
overbearing boyfriend.
SECOND FEATURETTES PROGRAM
CERESIA
Nicolas Wendl FROM THE WOODS (2013, 26 min, 35mm)
A recently single mother must learn to let go of her fear
and obsession about her abusive husband in order to
save her son from the hands of a mysterious creature
from the woods.
An FDA antidepressant drug trial goes terribly wrong when
it incites a young artist to take both his new girlfriend and
doctor captive.
Joshua Durham SHADOWBOXING (2015, 35 min, video)
An aspiring boxer must face the shadows that haunt him
before he can step inside the ring.
Jason Wade Hammonds
2015, 74 min, video
–Wed, Feb 10 at 6:00, 7:30 & 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS
ANOTHER EXPERIMENT BY WOMEN
FIRST SHORT FILM PROGRAM
Curated by Lili White
SECOND SHORT FILM PROGRAM
Sci-Fi
Vinny Sisson AMONG US (2015, 6 min, video)
Diana Froese PROMETHEUS RISING (2015, 10 min, video)
Clayton Combe THE FEED (2015, 11 min, video)
Thorana Sigurdardottir ZELOS (2015, 15 min, video)
Frank Perrotto THE LAST ABDUCTION (2015, 18 min,
video)
THIRD SHORT FILM PROGRAM
More Sci-Fi
Ash Mayfair LUPO (2015, 6 min, video)
Chris Valenziano VARIABLE (2015, 12 min, video)
SangJin Ko LAST DAY ON EARTH (2015, 18 min, video)
Mark Chandler BREEDING GROUNDS (2015, 23 min, video)
FEATURETTES PROGRAM
Kirill Modylevskiy JONAH (2013, 25 min, video)
There is nothing wrong with talking to the TV. It’s a whole
other story if it suddenly starts talking to you…
Jerry Shang THE THIRTY NINE DAYS (2015, 28 min, video)
Love separated by centuries, harmonized by magic.
Lyon Mitchell LUCIFER (2015, 31 min, video)
Lucifer, the fallen angel, seeks his purpose after being
cast away from the house of eternal light.
–Wed, Feb 17 at 6:00, 7:00, 8:15 & 9:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS TWISTED
HORROR IN FEBRUARY
–Mon, Feb 22 at 6:00, 7:15, 8:45 &
9:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS
YOUNGFILMMAKERS WEBSERIES
PROGRAM
YOUNGFILMMAKERS WEBISODES PROGRAM
Elisabeth Ness REDHEADS ANONYMOUS: PILOT (2015,
8 min, video)
Rebecca Blaine Carton & Danny Ward LIVING THRU THE
LENS: PILOT + EP 2 (2015, 8 min, video)
Joseph Ruggieri MISSPELLED: PILOT (2014, 9 min,
video)
Lily Hayes Kaufman RARE BIRDS OF FASHION: PILOT +
EP 2 (2015, 8 min, video)
Nicole Kemper THE MOTHER LOAD: PILOT + EP 2 (2015,
11 min, video)
Lauren Terilli SO SOHA: PILOT + EP 2 (2015, 12 min,
video)
SHORT FILM PROGRAM
Jewish Interest Films
Jeremy Cohen MADE IN NEW YORK (2015, 12 min, video)
Amanda Freedman BEDFELLOWS (2014, 12 min, video)
Leah Gottfried THE SETUP (2015, 16 min, video)
Sara Israel THE HAPPIEST PERSON IN AMERICA (2013,
16 min, video)
Patrick Waismann UNORTHODOX (2012, 24 min, video)
FEATURE PRESENTATION
Eric Rivas
VAMP BIKERS DOS
2015, 100 min, video
–Tues, Mar 1 at 6:00, 7:15 & 9:00.
FIRST SHORT FILM PROGRAM
Robert Ndondo-Lay SEMBLANCE (2015, 9 min, video)
29
SPECIAL SCREENINGS
NEWFILMMAKERS PRESENTS A NIGHT OF
CRIME AND PUNISHMENT
NEWFILMMAKERS PRESENTS A
PROGRAM ON LABOR
FIRST SHORT FILM PROGRAM
FIRST SHORT FILM PROGRAM
TBA
SECOND SHORT FILM PROGRAM
TBA
FEATURE PRESENTATION
Christopher Lombardi
THE RELUCTANT DETECTIVE
2015, 97 min, video
This film revolves around Bennett Stephens, a well-known
television actor on a popular cable-TV crime show. While on
vacation, Bennett gets involved, upon the insistence of his wife
Kelly, in trying to solve a double homicide.
–Wed, Mar 9 at 6:00, 7:00, 8:15 & 10:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS BRANDON’S
BIRTHDAY SCREENING WITH A NIGHT OF
CHRISTIAN SEX
FIRST SHORT FILM PROGRAM
The Spiritual
Ward Roberts PRO-ANA (2015, 11 min, video)
John Galvin MR READY (2015, 14 min, video)
Matthew Leone FEAR AND OTHER THINGS MOOT (2015, 16
min, video)
Brian Lederman INERTIA (2015, 18 min, video)
Strack Azar ROSEWOOD FOR MISTER LEMON (2015, 18 min,
video)
SECOND SHORT FILM PROGRAM
The not-so-Spiritual
Deukyun Hwang PIANO (2015, 8 min, video)
Danijela Stajnfeld THE HOLE (2015, 11 min, video)
Ian M. Adelson SPIDERS (2015, 19 min, video)
Adrian Centoni & Justin Derry NEITHER SHADOW OF TURNING
(2015, 20 min, video)
Aaron Cassara BARISTA (2015, 23 min, video)
FEATURE PRESENTATION
Jim Murnak
ONE DIVIDED BY THREE
2015, 107 min, video
A man without experience with women finds himself dating
three at a time.
–Wed, Mar 16 at 6:00, 7:30 & 9:00.
30
NEWFILMMAKERS PRESENTS AN
LGBTQ PROGRAM CURATED BY
PIERRE STEFANOS
On Labor
Joe Thristino THE MID-LEVEL (2015, 8 min, video)
Kelly Adams ONE MAN’S TRASH (2015, 17 min,
video)
Dakota Lustick GUARDER OF LIVES (2015, 18
min, video)
Riz Nasim CUBICLES (2015, 22 min, video)
SHORT FILM PROGRAM
SECOND SHORT FILM PROGRAM
2015, 87 min, video
Curated by Tova Beck-Friedman
Juliette Lizeray SYV (2015, 15 min, video)
Linda Fenstermaker ABANDONED GENERATIONS
(2015, 10 min, video)
Lynne Siefert AFTER LIGHT (2014, 9 min, video)
Pablo Escoto LETTERS TO BARCELONA (2014, 22
min, video)
SECOND FEATURE PRESENTATION
Kevin Arbouet
FEATURE PRESENTATION
Ryan Carmichael
BUT NOT FOR ME
2015, 108 min, video
A struggling, disillusioned young writer discovers
a fledgling sense of hope when a beautiful violinist moves in next door and agrees to perform with
him on the city streets.
–Wed, Mar 23 at 6:00, 7:30 &
8:45.
Serkan Ertekin AiDiYET (2015, 30 min, video)
Francis Luta WOLF (2015, 19 min, video)
Valerie Brooks FUNNY BOY (2015, 14 min, video)
FIRST FEATURE PRESENTATION
Scott Sheppard
AN ACT OF LOVE
In 2013, Rev. Frank Schaefer was put on trial in the
United Methodist Church for officiating his son’s samesex wedding. The Schaefer family was drawn into a
movement for LGBTQ equality in the nation’s second
largest protestant denomination.
CASSANOVA WAS A WOMAN
2015, 111 min, video
Cassanova Canto is a struggling actor who happens
to be Cuban-American but who fits none of the social
stereotypes. When she falls in love with a woman, while
still married to her husband, she experiences another
form of prejudice as a bisexual. But after Cassanova
and Lola make love, Fantasy Man, a hot stud who’s a
figment of her imagination, begins to appear everywhere. Naked.
–Wed, Mar 30 at 6:00, 7:15 & 9:00.
FESTIVALS
CINEKINK PRESENTS…CINEKINK: NYC
March 1-6
The 13th annual CINEKINK: NYC – “the kinky film festival!” – will feature a program of films and videos that cut across orientations to celebrate and explore a wide diversity of
sexuality.
Presented by CineKink, an organization that encourages and promotes sex-positive and kink-friendly depictions in film and television, the festival showcases works ranging from
documentary to drama, camp comedy to artsy experimental, mildly spicy to quite explicit – and everything in between.
For the full schedule, advance tickets, and information on the festival’s kick-off party (March 1) and concluding awards
ceremony/party (March 6), both of which take place at other venues, visit: www.cinekink.com.
ANTHOLOGY’S NEWLY RENOVATED
THEATERS ARE AVAILABLE TO RENT!
• Prime-time and afternoon hours available throughout the year.
• Hold your film festival, public, private, or test screening, class,
performance, or party at Anthology Film Archives.
• We can accommodate 35mm & 16mm film, DCP, digital files, and most legacy videotape
formats.
• In addition, each theater has a lobby which is ideal for receptions, information tables,
merch sales, etc.
Courthouse Theater:
187 seats / $350 per hour
Maya Deren Theater:
74 seats / $300 per hour
We have state-of-the-art film, video, and sound systems, the best rates in the city, and the
most flexibility to meet your needs!
TO BOOK YOUR EVENT: call John at (212) 505-5181 ext.11
or email: john@anthologyfilmarchives.org
31
new HARRY SMITH BOOKS fOR SAle!
$38 PAPeR AIRPlAneS
$30
fOR
AfA
MeMBeRS!
The Collections of Harry Smith
Catalogue Raisonné, Volume I
edited by John Klacsmann and Andrew lampert
Photographs by Jason fulford
Published in 2015 by J&l Books with Anthology film Archives
6” x 9”, Paperback with french flaps
ISBn: 978-0-9895311-3-9
$28 STRIng fIguReS
$22
fOR
AfA
MeMBeRS!
The Collections of Harry Smith
Catalogue Raisonné, Volume II
edited by John Klacsmann and Andrew lampert
Text by John Cohen and Terry winters
Published in 2015 by J&l Books with Anthology film Archives
6” x 9”, Paperback with french flaps
ISBn: 978-0-9895311-6-0
PRICeS InClude TAx.
32
INDEX
ABOMINABLE DR. PHIBES, THE, Jan 30, Feb 4, 7, p. 20
FOOD OF THE GODS, THE, Jan 29, Feb 2, 6, p. 20
AGAINST THE GRAIN, Feb 6, p. 11
FORWARD, SOVIET!, Jan 31, p. 2
NEWFILMMAKERS, Jan 6, 13, 20, 27, Feb 3, 10, 17, 22,
Mar 1, 9, 16, 23, 30 p. 28-30
AHEARN, CHARLIE, Mar 11-13, p. 8
FOXY BROWN, Mar 12, 15, 21, p. 22
NIRO, SHELLEY, Jan 16, p. 14
AMERICAN INTERNATIONAL PICTURES,
Jan 28-Mar 21, p. 19-22
FREELAND, SYDNEY, Jan 16, p. 13
OBOMSAWIN, ALANIS, Jan 16, 19, p. 14
FRUET, WILLIAM, Jan 30, Feb 1, 7, p. 20
PIALAT, MAURICE, Feb 11, 13, p. 23
ANGER, KENNETH, Feb 27, p. 3
FUEST, ROBERT, Jan 30, Feb 4, 7, p. 20
PITTSBURGH TRILOGY, THE, Mar 20, p. 4
ART OF VISION, THE, Mar 6, p. 3
GERAGHTY, TIMOTHY, Jan 21, p. 10
POLISH AVANT-GARDE CINEMA, Feb 18, p. 27
ATANARJUAT, THE FAST RUNNER, Jan 17, 21, p. 14
GORDON I., BERT, Jan 29, Feb 2, 6, p. 20
POLITICAL TRANSMISSION, Feb 6, p. 10
BAILLIE, BRUCE, Feb 28, p. 3
GORDON, BETTE, Jan 30-31, p. 6-7
POSSESSION, Feb 12-14, p. 23
BAKER, ROY WARD, Jan 28, Feb 1, 6, p. 19
GREED, Feb 12, 15, 18, p. 2
PRICE, VINCENT, Jan 29-31, Feb 4, 6, 7, 20, 25, 28, p. 19-21
BAKSHI, RALPH, Feb 20, 25, 27, p. 21
HALLER, DANIEL, Jan 28, 31, Feb 5, p. 19
QUICK BILLY, Feb 28, p. 3
BARNABY, JEFF, Jan 15, p. 13
HARJO, STERLIN, Jan 18, p. 14
RAE, HEATHER, Jan 15, p. 13
BERGMAN, INGMAR, Mar 29, p. 12
HEARTBREAK KID, Feb 12, 14, p. 23
RED-HORSE, VALERIE, Jan 14, p. 13
BLACK CAESAR, Mar 11, 14, 21, p. 21
HEAVY TRAFFIC, Feb 20, 25, 27, p. 21
REGROUPING, Feb 20-21, p. 7
BLACK MAMA, WHITE MAMA, Mar 12, 14, 19, p. 22
HESSLER, GORDON, Jan 29, 31, Feb 6, p. 19
REITMAN, IVAN, Feb 20, 26, 28, p. 21
BLACULA, Mar 11, 15, 19, p. 21
HILL, JACK, Mar 12, 15, 17, 20, 21, p. 22
RHYMES FOR YOUNG GHOULS, Jan 15, p. 13
BLOODY MAMA, Feb 19, 21, 27, p. 20
ICHIKAWA, KON, Feb 17, p. 24
RITE, THE, Mar 29, p. 12
BODY IN PLACES, A, Feb 17, 24, Mar 2, 9, 16, 23, p. 24-25
INDIAN TALKING MACHINE, Feb 7, p. 12
ROFFMAN, JULIAN, Jan 15-17, p. 5
BORDEN, LIZZIE, Feb 19-25, p. 5, 7
INNER MONOLOGUE, Mar 23, p. 25
ROMERO, EDDIE, Mar 12, 14, 19, p. 22
BORN IN FLAMES, Feb 19-25, p. 5, 7
ISN’T IT DELICIOUS, Feb 23, p. 12
RUBEN, JOSEPH, Feb 21, 26, 28, p. 21
BOWMAN, ARLENE, Jan 17, p. 14
ITAM HAKIM, HOPIIT, Jan 17, p. 14
SCHULTZ, MICHAEL, Mar 13, 18, 20, p. 22
BRAKHAGE, STAN, Mar 3, 5, 6, 10, 20, 24, p. 3-4
J.D.’S REVENGE, Mar 13, 18, 20, p. 22
SCREAM AND SCREAM AGAIN, Jan 29, 31, Feb 6, p. 19
BREER, ROBERT, Mar 26-27, p. 4
JACOBS, KEN, Jan 22-24, p. 26
SHINDO, KANETO, Mar 2, p. 25
BROOKS, ALBERT, Feb 11, 13, 14, p. 23
JOYRIDE, Feb 21, 26, 28, p. 21
SIXTH OF THE WORLD, A, Feb 6, p. 2
BURMESE HARP, THE, Feb 17, p. 24
KANAL, Feb 24, p. 24
SMOKE SIGNALS, Jan 14, 19, p. 13
BURNS, TIM, Feb 5-6, p. 10-11
KANEHSATAKE: 270 YEARS OF RESISTANCE,
Jan 16, 19, p. 14
SONGS 1-14, Mar 6, p. 3
CANNIBAL GIRLS, Feb 20, 26, 28, p. 21
CARDINAL, GIL, Jan 18, p. 14
KELLEY, SUZANNE HAYES, Feb 23, p. 12
SUGAR HILL, Mar 13, 17, 19, p. 22
COFFY, Mar 12, 17, 20, p. 22
TEXT OF LIGHT, THE, Mar 20, p. 3
COHEN, LARRY, Mar 11, 14, 21, p. 21
KEYWORDS IN SUBVERSIVE FILM/MEDIA
AESTHETICS, Jan 12, p. 26
COLEMAN, ORNETTE, Mar 25-27, p. 6
KINO-EYE, Jan 30, p. 2
THIS MAY BE THE LAST TIME, Jan 18, p. 14
COOLEY HIGH, Mar 13, 18, 20, p. 22
KISSED BY LIGHTNING, Jan 16, p. 14
THREE SONGS ABOUT LENIN, Feb 7, p. 2
CORMAN, ROGER, Jan 31, Feb 2, 5, 19, 21, 27 p. 20
KOSHIRO, OTSU, Mar 23, p. 25
TIKINAGAN, Jan 18, p. 14
CRAIN, WILLIAM, Mar 11, 15, 19, p. 21
KUNUK, ZACHARIAS, Jan 17, 21, p. 14
TOTALLY 80’S MOVIE FREAK OUT, Feb 13, p. 26
CROCKWELL, DOUGLASS, Feb 28, p. 3
LUCAS, PHIL, Jan 18, p. 14
TRUDELL, Jan 15, p. 13
DAY THE WORLD ENDED, Jan 31, Feb 2, 5, p. 20
MARKS, ARTHUR, Mar 13, 18, 20, p. 22
TSUCHIMOTO, NORIAKI, Mar 9, p. 25
DEADLY ART OF SURVIVAL, THE, Mar 11, 13, p. 8
MASAYESVA, JR, VICTOR, Jan 17, p. 14
UNHOLY ROLLERS, Feb 19, 21, 27, p. 20-21
DEATH WEEKEND, Jan 30, Feb 1, 7, p. 20
MASK, THE, Jan 15-17, p. 5
UNKNOWN COUNTRY, AN, Mar 22, p. 12
DEHN, MURA, Mar 16, p. 25
MASLANSKY, PAUL, Mar 13, 17, 19, p. 22
VAMPIRE LOVERS, THE, Jan 28, Feb 1, 6, p. 19
DEMON ON WHEELS, Jan 26, p. 12
MASTER OF THE WORLD, Feb 20, 25, 28, p. 21
VARIETY, Jan 30-31, p. 7
DOG STAR MAN, Mar 5, p. 3
MAY, ELAINE, Feb 12, 14, p. 23
VERTOV, DZIGA, Jan 29-Feb 7, p. 2
DOIN’ TIME IN TIMES SQUARE, Mar 12, p. 8
MCCABE, KATE, Mar 26, p. 11
VON STROHEIM, ERICH, Feb 12, 15, 18, p. 2
DR. PHIBES RISES AGAIN, Jan 30, Feb 4, 7, p. 20
MILLENNIUM FILM JOURNAL, Feb 18, p. 27
WAJDA, ANDRZEJ, Feb 24, p. 24
DRUNKTOWN’S FINEST, Jan 16, p. 13
MILLIS, ROBERT, Feb 7, p. 12
WARHOL, ANDY, Feb 27, p. 2
DUNWICH HORROR, THE, Jan 28, 31, Feb 5, p. 19
MINAMATA: THE VICTIMS AND THEIR WORLD,
Mar 9, p. 25
WE WON’T GROW OLD TOGETHER, Feb 11, 13, p. 23
EIKO, Feb 17, 24, Mar 2, 9, 16, 23, p. 24-25
ELEVENTH YEAR, THE, Feb 7, p. 2
ELIOPOULOS, CHRISTINA, Jan 26, p. 12
EMPTY SUITCASES, Jan 31, p. 7
ENTHUSIASM, Feb 4, p. 2
EYRE, CHRIS, Jan 14, 19, p. 13
FARMER, JENNIFER WYNNE, Jan 14, p. 13
FLAHERTY NYC, Jan 19, Feb 2, 16, Mar 1, 15, 29, p. 9
MODERN ROMANCE, Feb 11, 13, 14, p. 23
NAKED ISLAND, THE, Mar 2, p. 25
NATURALLY NATIVE, Jan 14, p. 13
NAVAJO TALKING PICTURE, Jan 17, p. 14
NERVOUS MAGIC LANTERN FESTIVAL,
Jan 22-24, p. 26
NEW YORK WOMEN IN FILM AND TELEVISION,
Jan 26, Feb 23, Mar 22, p. 12
SPIRIT MOVES, THE, Mar 16, p. 25
THE HONOUR OF ALL, Jan 18, p. 14
WHITE, THOMAS, Mar 25-27, p. 6
WHO’S CRAZY?, Mar 25-27, p. 6
WHY CARS? – CARnage!, Feb 5, p. 10
WITNEY, WILLIAM, Feb 20, 25, 28, p. 21
ZELIG, EVA, Mar 22, p. 12
ZIMMERMAN, VERNON, Feb 19, 21, 27, p. 20-21
ZULAWSKI, ANDRZEJ, Feb 12-14, p. 23
ES
A R C HI
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FIL
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32 Second Avenue
New York, NY 10003
Dated Material
ABOUT ANTHOLOGY FILM ARCHIVES
Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a special emphasis on
alternative, avant-garde, independent productions and the classics. Anthology is a member of FIAF, the International Federation of Film
Archives and AMIA, the Association of Moving Image Archivists.
BRIEF HISTORY OF THE ORGANIZATION
Anthology Film Archives opened on November 30, 1970, at Joseph Papp’s Public Theater. In 1973 it relocated to 80 Wooster Street. Pressed
by the need for adequate space, in 1979 it acquired Manhattan’s Second Avenue Courthouse building. After an extensive renovation, the
building was adapted in the mid-1980s to house two motion picture theaters, a reference library, a film preservation department, administrative
offices, and an art gallery. Anthology opened at its current location on October 12, 1988.
EXHIBITION PROGRAM
Our theaters are equipped with 35mm, 16mm, 8mm, Super-8mm, digital projection, and Dolby 5.1 surround sound. Besides the daily screenings
of new and classic works programmed by the staff, Anthology is a home to many guest curators and film festivals. Anthology’s programming
is unusually rich and varied. International premieres, individual retrospectives, special national and minority surveys, and thematic festivals
are exhibited regularly.
ESSENTIAL CINEMA REPERTORY COLLECTION
A very special series of films screened on a repertory basis, the Essential Cinema repertory collection consists of 110 programs/330 titles
assembled in 1970-75 by the Film Selection Committee: James Broughton, Ken Kelman, Peter Kubelka, P. Adams Sitney, and Jonas Mekas. It
was an ambitious attempt to define the art of cinema. The project was never completed, but even in its unfinished state the series provides an
uncompromising critical overview of cinema’s history.
REFERENCE LIBRARY
Anthology’s reference library contains the world’s largest collection of materials documenting the history of American and international avantgarde/independent film and video. The holdings include books, periodicals, photographs, posters, recordings of lectures and interviews,
distribution and festival catalogs, as well as files on individual filmmakers and organizations. The files contain original documents, manuscripts,
letters, scripts, notebooks, clippings, and other ephemera. We are now working to make much of these unique materials available online.
FILM PRESERVATION
Anthology has also saved tens of thousands of films from disposal and disintegration, principally by housing materials in our historic East Village
Courthouse building. We have been steadfastly committed to the preservation and exhibition of work by the most important American independent
and experimental filmmakers of the last half-century. Films preserved by Anthology—over 1000 to date—include those of Stan Brakhage, Shirley
Clarke, Joseph Cornell, Maya Deren, George & Mike Kuchar, Marie Menken, Paul Sharits, and Harry Smith, among many others.
Cover: Sara Greenberger Rafferty, Anthology Film Archives January – March 2016, 2015.
Directions
Subway: F train to 2nd Avenue, walk two blocks north on
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#6 to Bleecker St., walk one block North on Lafayette, two
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Bus: M15 to 3rd Street.
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