Anthology Film Archives July–September 2010
NOTE ON THE PROGRAM & cOvER: Our Film Schedule is arranged by program. For a chronological listing of films, please see the calendar on pages 15-17. The cover of this issue of Anthology Film Archives’ Film Program is an original work by Martin Puryear, © 2010. The artwork will be printed in a series of limited-edition portfolios to be published annually by Anthology. We thank the artist for his generous contribution to the inaugural 2010 edition of the Anthology art portfolio.
premieres ECCENTRICITIES OF A BLOND HAIR GIRL OUR BELOVED MONTH OF AUGUST THE ANCHORAGE
5 6 7
retrospectives Charles Ludlam Hans-Jürgen Syberberg
series Jonas Mekas Selects: Boring Masterpieces Austrian Cultural Forum NY New/Improved/Institutional/Quality Outer Boroughs on Film Anti-Biopics
chronological listings aFa neWsletter
series, cont’d William Lustig Presents History, Memory, Tribunals, and Cinema
19 22 24
special screenings Willie Nelson’s Fourth of July Subway Cinema: THE ANCIENT DOGOO GIRL Unessential Cinema: Serials – First Things First Henry Hills’s ASTRONOME Flaherty NYC Lowell Bodger Memorial Bertrand Bonello Lynne Sachs New York Women in Film and Television
10 11 12 14
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!
1967, 45 minutes, 16mm.
1949, 85 minutes, 35mm. In Italian with no subtitles; English synopsis available.
1950-61, 66 minutes, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and cineric, Inc.
THE FLOWERS OF ST. FRANCIS / FRANCESCO, GIULIARE DI DIO Francesco (St. Francis of Assisi) comes back to Santa Maria degli Angeli from Rome, journeying with his friars through the rain. When they are driven out of a hut, he begs the brothers’ forgiveness for abusing their obedience. While the monks are finishing the chapel, Brother Ginepro arrives naked again and confesses that the previous night he was tempted by the Devil. Later, he cuts the foot off a pig to feed a sick brother. That evening, Francesco meets a leper and kisses him. Brother Ginepro receives Francesco’s permission to preach and arrives at the camp of Nicolaio, the tyrant of viterbo, whose cruelty he overcomes with his perfect humility. Francesco teaches Brother Leone that bearing injuries and blows is an example of perfect joy. Francesco sends his brothers out to preach far and wide. –Friday, July 9 at 7:00 & 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
EARLY ABSTRACTIONS (1941-57, 23 minutes, 16mm) Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. MIRROR ANIMATIONS (extended 1979 version, 11 minutes, 35mm) NEW PRINT! LATE SUPERIMPOSITIONS (1964, 28 minutes, 16mm) OZ, THE TIN WOODMAN’S DREAM (1967, 15 minutes, 35mm)
“My cinematic excreta is of four varieties: – batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide – they made me gray.” –Harry Smith Total running time: ca. 80 minutes.
–saturday, July 10 at 6:15. 2
NO 12: HEAVEN AND EARTH MAGIC
“NO. 12 can be seen as one moment – certainly the most elaborately crafted moment – of the single alchemical film which is Harry Smith’s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith’s abiding concern with auditory effects.” –P. Adams Sitney –saturday, July 10 at 8:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FIREWORKS (1947, 20 minutes, 35mm, b&w) RABBIT’S MOON (1950-70, 15 minutes, 35mm) EAUX D’ARTIFICE (1953, 13 minutes, 16mm) SCORPIO RISING (1963, 30 minutes, 35mm) 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 minutes.
–sunday, July 11 at 6:30 & 8:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JACK SMITH SCOTCH TAPE
1962, 3 minutes, 16mm.
Junkyard musical. &
FLAMING CREATURES 1963, 45 minutes, 16mm, b&w, sound.
‘[Smith] graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.” –FILM cULTURE –Friday, July 16 at 7:30 & 8:45.
WAVELENGTH “[It] is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a ‘triumph of contemplative cinema’.” –Gene Youngblood, L.A. FREE PRESS –saturday, July 17 at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
1969, 52 minutes, 16mm.
“...This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it’s hard to believe the whole movie is confined to it, and has this neckjerking camera gimmick which hits a wooden stop arm at each end of its swing. Basically it’s a perpetual motion film which ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera’s swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. “In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency.” –Manny Farber, ARTFORUM –saturday, July 17 at 8:15.
TRIUMPH OF THE WILL / TRIUMPH DES WILLENS 1934-35, 106 minutes, 35mm, b&w.
“The official Nazi record of the 1934 Nuremberg Party rally, commissioned by Hitler and directed by Leni Riefenstahl, [it] is one of the most controversial contributions to film history because of its subject matter – her insistence that the film is solely a work of art and not propaganda; and the presentation of the subject matter – the manipulation of reality in this ‘documentary’ record. The contributions to the art of film this work has to offer are closely tied to the controversies. [It] is a masterpiece of style and editing, which in turn are the very techniques used to manipulate reality and create emotionally effective propaganda.” –Marie Saeli –sunday, July 18 at 5:30 & 7:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
VALENTIN / VIGO PROGRAM Karl Valentin CONFIRMATION DAY / DER FIRMLING
The Essential Cinema Warhol screenings on July 25 are dedicated to the memory of Callie Angell, who passed away May 5, 2010. A renowned Warhol scholar, Callie worked as Anthology’s librarian in the mid-seventies, was the recipient of one of our Film Preservation Honors in 1996, and collaborated with us on film programs in recent years. Her passing represents an enormous loss to the community, and she will be greatly missed. WARHOL / WHITNEY PROGRAM
Andy Warhol EAT (1963, 35 minutes, 35mm, b&w, silent) John and James Whitney FILM EXERCISES 1-5 (1943-45, 18 minutes, 16mm)
James Whitney LAPIS (1963-66, 10 minutes, 16mm, silent) Total running time: ca. 65 minutes.
–sunday, July 25 at 6:30.
MY HUSTLER 1965, 67 minutes, 16mm, b&w.
MY HUSTLER is an early commercial venture in Warhol’s filmmaking career which has since become one of the classics of gay cinema. It is the story of a sexual triangle in which Ed Hood competes with his Fire Island neighbors, Joe campbell and Genevieve charbin, for the attentions of Paul America, whom he has rented for the weekend from “Dial-a-Hustler.” The realism of the scenario is due largely to the absence of a script and performances by actors essentially playing themselves. –sunday, July 25 at 8:00.
1934, 23 minutes, 35mm, b&w. In German with no subtitles; English synopsis available.
A father and son, celebrating the son’s confirmation, go to a fancy restaurant and drink all day. They want to order Emmentaler cheese, but can only find Affentaler wine on the menu. How did the Affentaler, which they think is cheese, get into the bottle? They keep on drinking away, attracting attention and causing more and more confusion. “valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy’s best moments.” –J.R. Jones, cHIcAGO READER &
Jean Vigo ZERO FOR CONDUCT / ZÉRO DE CONDUITE 1935, 44 minutes, 35mm, b&w. In French with no subtitles; English synopsis available.
ZÉRO DE cONDUITE, an eloquent parable of freedom versus authority, is set at a boys’ boarding school and undoubtedly echoes vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945.
QUICK BILLY 1971, 73 minutes, 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. –sunday, august 1 at 5:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
BAILLIE / CROCKWELL PROGRAM Bruce Baillie MASS FOR THE DAKOTA SIOUX (1963-64, 20 minutes, 16mm, b&w)
QUIXOTE (1964-65, 45 minutes, 16mm) CASTRO STREET (1966, 10 minutes, 16mm) ALL MY LIFE (1966, 3 minutes, 16mm) VALENTIN DE LAS SIERRAS (1968, 10 minutes, 16mm) Meditations on America by a filmmaker whom Willard van Dyke once called the most American of all contemporary filmmakers. Annette Michelson has referred to Bruce Baillie as one of the few American political filmmakers.
Douglass Crockwell GLENS FALLS SEQUENCE (1964, 8 minutes, 16mm) “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. 100 minutes.
–sunday, august 1 at 7:30.
Total running time: ca. 70 minutes.
–Friday, July 23 at 8:00. 3
ENTHUSIASM, OR SYMPHONY OF THE DON BASIN
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.
A SIXTH OF THE WORLD / SHESTAIA CHAST MIRA 1926, 74 minutes, 35mm, b&w, silent. With Russian intertitles; English synopsis available.
–Wednesday, august 4 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FORWARD, SOVIET! / SHAGHAI, SOVIET! 1925-26, 73 minutes, 35mm, b&w, silent. With Russian intertitles; English synopsis available.
–thursday, august 5 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ENTHUSIASM, OR SYMPHONY OF THE DON BASIN / ENTUZIASM: SIMFONIYA DONBASSA 1931, 67 minutes, 35mm, b&w. In Russian with no subtitles; English synopsis available.
–Friday, august 6 at 8:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
KINO-EYE / KINOGLAZ 1925, 70 minutes, 16mm, b&w, silent.
–Friday, august 13 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
MAN WITH A MOVIE CAMERA / CHELOVEK S KINO-APPARATOM 1929, 104 minutes, 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 –saturday, august 14 at 6:00 & 8:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––���––––
THREE SONGS ABOUT LENIN / TRI PESNI O LENINYE
1934, 60 minutes, 35mm, b&w. In Russian with no subtitles; English synopsis available.
–sunday, august 15 at 5:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE ELEVENTH YEAR / ODINNADTSAYI 1928, 60 minutes, 35mm, b&w, silent. With Russian intertitles; English synopsis available.
–sunday, august 15 at 7:30. 4
MAN WITH A MOVIE CAMERA
STAN BRAKHAGE Unless otherwise noted, all films are silent. DESISTFILM (1954, 7 minutes, 16mm, b&w, sound)
REFLECTIONS ON BLACK
(1955, 12 minutes, 16mm, b&w, sound) THE WONDER RING (1955, 4 minutes, 16mm) FLESH OF MORNING (1956, 25 minutes, 16mm, b&w) DAYBREAK AND WHITEYE (1957, 8 minutes, 16mm)
WINDOW WATER BABY MOVING (1959, 12 minutes, 16mm)
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 minutes.
–thursday, september 2 at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DOG STAR MAN 1961-64, 74 minutes, 16mm, silent.
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 –Friday, september 3 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––
STAN BRAKHAGE THE PITTSBURGH TRILOGY EYES
1970, 36 minutes, 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.” –S.B.
DEUS EX 1971, 34 minutes, 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 minutes, 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 minutes.
–saturday, september 4 at 5:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––
SONGS 1-14 1964-65, ca. 53 minutes, 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. –saturday, september 4 at 7:30.
essential cinema / premieres
ECCENTRICITIES OF A BLOND HAIR GIRL
STAN BRAKHAGE Unless otherwise noted, all films are silent. ANTICIPATION OF THE NIGHT (1958, 40 minutes, 16mm) CAT’S CRADLE (1959, 6 minutes, 16mm) THE DEAD (1960, 11 minutes, 16mm) MOTHLIGHT (1963, 4 minutes, 16mm) BLUE MOSES (1963, 11 minutes, 16mm, sound) PASHT (1965, 5 minutes, 16mm) FIRE OF WATERS (1965, 10 minutes, 16mm, 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 minutes.
–sunday, september 5 at 5:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE TEXT OF LIGHT 1974, 67 minutes, 16mm, silent.
Brakhage’s tour-de-force exploration of refracted light in an ashtray. “All that is, is light.” –Dun Scotus Erigena –sunday, september 5 at 7:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––
All films are silent. LOVING (1956, 4 minutes, 16mm) THE WEIR-FALCON SAGA (1970, 29 minutes, 16mm) THE MACHINE OF EDEN (1970, 11 minutes, 16mm)
SEXUAL MEDITATION #1: MOTEL
(1970, 7 minutes, 16mm) DOOR (1971, 4 minutes, 16mm)
SEXUAL MEDITATION: ROOM WITH A VIEW
(1971, 4 minutes, 16mm)
THE SHORES OF PHOS: A FABLE (1972, 10 minutes, 16mm)
THE RIDDLE OF LUMEN (1972, 14 minutes, 16mm) A selection from some of Brakhage’s most densely mysterious works. Total running time: ca. 90 minutes.
–Wednesday, september 15 at 7:30.
NEW YORK THEATRICAL PREMIERE RUN!
Want to learn more about the essential cinema collection? the following books are good resources: The Essential Cinema: Essays on the Films in the Collection of Anthology Film Archives edited by p. adams sitney & Perspectives on Jerome Hill and Anthology Film Archives edited by robert haller available at anthology at the box office, or visit our website: anthologyfilmarchives.org
or call 212-505-5181x.13
Manoel de Oliveira
ECCENTRICITIES OF A BLOND HAIR GIRL / SINGULARIDADES DE UMA RAPARIGA LOURA 2009, 64 minutes, 35mm. In Portuguese with English subtitles. Based on a story by Eça de Queiróz. With Ricardo Trêpa, catarina Wallenstein, and Leonor Silveira.
The unstoppable Manoel de Oliveira – 101-years-old but producing films at a pace few filmmakers of any age could rival – returns to Anthology with this spare, deceptively simple, disarmingly pleasurable, and finelywrought gem, an adaptation of a story by the great early-modernist Portuguese author Eça de Queiróz. Opening on a train, where a visibly distraught man, Macário, begins to unburden himself to the woman in the seat next to him, the film tells the story of Macário’s infatuation with a young blond woman he spies through an apartment window. Devoting himself to winning her, in the face of obstacles financial, familial, and practical, he finally achieves his goal, only to discover an unexpected “singularity” of his fiancée’s character. A tragicomedy of manners, EccENTRIcITIES is at once genuinely classical and rigorously modern, with the balance, pacing, and control of a perfectly-crafted short story. “EccENTRIcITIES, which contains generous doses of de Oliveira’s trademark perverse wit, builds to a denouement that is as insouciant (and, to a certain extent, as cruel) as any twist in Guy de Maupassant. De Oliveira’s insights into sexual tensions and the conflicts between commerce and marital bliss are not only sharp: they are, despite his reputation for ‘difficult’ work, surprisingly entertaining.” –Richard Porton, cINEASTE “This recession-age fable, which revolves around love, work, family pressures, and hidebound traditions, is set in contemporary Lisbon but breathes the air of a dreamy, timeless romanticism – one that befits the long view of life taken by its hundred-year-old director. … Oliveira brings a dry, sensual elegance to this tale of hearts confounded by circumstances and silences, and he portrays social formalities as mating rituals for human animals on the verge of brutality.” –Richard Brody, THE NEW YORKER –Friday, august 6 through thursday, august 12 at 7:00 & 8:30 nightly. additional screenings on saturday and sunday at 4:00 & 5:30.
OUR BELOVED MONTH OF AUGUST
OUR BELOVED MONTH OF AUGUST
the Films oF migUel gomes September 3-12
With just two features and half a dozen shorts to his name, Portuguese filmmaker Miguel Gomes has established himself as one of the most distinctive voices in contemporary cinema, developing an exhilaratingly original, truly head-scratching, and inexplicably beguiling approach to filmmaking. Combining the meta-fictional gamesmanship and mystery of Jacques Rivette with the blurring of documentary and narrative modes that has proven a favored (and highly productive) strategy of many of today’s most gifted filmmakers (Pedro Costa, Apichatpong Weerasethakul, Ulrich Seidl, and others), Gomes has confidently staked out a territory all his own. His most recent feature film, OUR BELOVED MONTH OF AUGUST is truly something new under the sun, a category-exploding whatsit that’s nevertheless so seductive and effortlessly compelling from moment to moment that its wanderings between different cinematic realms (conceived as a fictional film, it transformed itself into a documentary on summer music festivals in rural Portugal when the funding fell through, only to grope its way back towards fiction during production) ultimately seem almost irrelevant. This summer, we will present the New York theatrical premiere run of this remarkable film, alongside screenings of Gomes’s earlier shorts and debut feature – a great opportunity to catch up all at once with the work of a truly original cinematic sensibility. very special thanks to Miguel Gomes; Sandro Fiorin, cristina Garza, and Alex Garcia (FiGa Films); Adam Sekuler (Northwest Film Forum); and Haden Guest (Harvard Film Archive). NEW YORK THEATRICAL PREMIERE RUN!
OUR BELOVED MONTH OF AUGUST / AQUELE QUERIDO MÊS DE AGOSTO 2008, 147 minutes, 35mm. In Portuguese with English subtitles.
“When Gomes found himself with neither cast nor financing for his hefty screenplay, he stared impending failure in the face and, giving in to mad artistic impulse, strode headlong towards his location anyways with crew and camera in tow. Set on a quixotic mission to find their film in the midst of the August music festivals that permeate the heart of rural Portugal, Gomes and company shot everything and everyone possible, leaving no stone unturned in their quest for art and story. What emerged is a lengthy and deliberately chaotic hybrid of documentary and fiction which delicately captures the vibrancy of the local community while simultaneously allowing a reworked metanarrative – centering on the strange relationship between a father, daughter and nephew in a traveling pop band – to quietly creep in to the proceedings.” –Landon Zakheim, SAN FRANcIScO INTERNATIONAL FILM FESTIvAL “[AUGUST] is truly ‘between documentary and fiction’, sometimes an essay-film, sometimes a family melodrama. What is brilliant is its slippery status, how it slides, without announcing it, from one pole (documentary) to the other (fiction). …[E]very viewer will get lost trying to figure out what came first, the real people or the imaginary characters they play, the stories told in the old, corny songs or the story devised by the director. … Gomes’s film offers its own, remarkable vision of an ‘expanded cinema’, a cinema of multiple levels interacting in space and time – freeing the viewers’ minds and letting their emotions roam. It is, indeed, a revelation.” –Adrian Martin, ROUGE –Friday, september 3 through thursday, september 9 at 6:30 & 9:15 nightly, with additional shows on saturday and sunday, september 4 & 5 at 3:30, Friday, september 10 at 9:15, and saturday, september 11 at 6:30. 6
THE FACE YOU DESERVE / A CARA QUE MERECES
SHORT FILM PROGRAM
2004, 108 minutes, 35mm. In Portuguese with English subtitles.
Parents and teachers have gone away. In the meantime a girl and two boys pass some time together, coming into the grips of a romantic tension that remains unexpressed because of their inability to communicate.
The title of Gomes’s debut feature film is derived from the expression, ‘Until the age of thirty, you have the face that God gave you, after that you have the face you deserve.’ A radically bifurcated film, it opens on its protagonist Francisco’s thirtieth birthday, a day that begins inauspiciously: moody, selfish, and petulant, Francisco, who makes a living performing at children’s birthday parties, argues with his girlfriend and then breaks his nose in a fender-bender while driving with his lover, all while dressed incongruously as a cowboy. Having already established its stylized, magical realist approach with a couple beguiling musical numbers, the film changes course completely half-way through, moving into a fantasy-world where seven strange men, inhabiting a country house, live according to a set of bizarre, inscrutable rules – something like a bucolic, innocent version of the House of Fiction in Rivette’s cELINE AND JULIE GO BOATING. In Gomes’s words, “The seven characters are like Snow White’s seven dwarfs. But they are also seven childish sides of Francisco’s character. He shall have to settle up with them one-by-one to grow up.” –Friday, september 10 at 6:45, saturday, september 11 at 9:30, and sunday, september 12 at 2:30.
MEANWHILE / ENTRETANTO (1999, 25 minutes, video)
CHRISTMAS INVENTORY / INVENTÁRIO DE NATAL (2000, 23 minutes, video)
“When I was twelve I dreamt that I was putting in motion the static pictures of the crèche. With this film I tried to do the same with the memories of my cousins and relatives, with that house and with those rituals. It’s a fake documentary and a fake animation film, a semi-fiction about children who go to war, play music, and take over.” –Miguel Gomes
31 (2001, 27 minutes, video) “This is the way you hold the racket to play a forehand. Just move your arm back, the left shoulder facing the ball, step forward with your left foot, hitting the ball.”
PRE EVOLUTION SOCCER’S ONE-MINUTE DANCE AFTER A GOLDEN GOAL IN THE MASTER LEAGUE (2004, 1 minute, video)
A playful one-minute-long variation on the well-known Playstation soccer computer game. A goal. A dance of joy. No music.
CANTICLE OF ALL CREATURES / CÂNTICO DAS CRIATURAS (2006, 23 minutes, video) 2006: A troubadour walks the streets of Assisi, playing the “Song of the creatures”, written by St. Francis almost 700 years ago. Woods of Umbria, 1212: While preaching to the birds, St. Francis suddenly faints. Reanimated by St. clare, the saint remembers nothing. When night falls, the animals in the forest sing and praise Francis. Total running time: ca. 105 minutes.
–saturday, september 11 at 4:15 and sunday, september 12 at 5:00.
premieres / retrospectives
THE SORROWS OF DOLORES
MUSEUM OF WAX
chArles lUDlAm on Film NEW YORK THEATRICAL PREMIERE RUN!
C.W. Winter & Anders Edström
2009, 87 minutes, 35mm. In Swedish with English subtitles. With Ulla Edström. Special thanks to Adam Sekuler (Northwest Film Forum).
This enigmatic, mysterious minimalist feature, a collaboration between calArts graduate c.W. Winter and photographer Anders Edström, combines elements of narrative fiction, documentary, and even installation art in depicting the daily routine of Ulla, a middle-aged woman living in self-sufficient isolation on a wild island on the Stockholm archipelago. Spending her days maintaining her land, reading, and taking a brief swim every morning (an act that lends a delicate structure to the film), Ulla enjoys a pleasant visit from her daughter who comes with boyfriend in tow. After their departure, though, she discovers that the world she has felt so secure in has been invaded by a strange deer-hunter. Shot with a minimal crew, with Edström’s mother in the lead role, Winter and Edström’s first fiction feature unobtrusively combines silence and the sounds of nature to create hypnotic sequences of great beauty. Beyond the lyricism of these meditative images, THE ANcHORAGE is an ode to a woman whose strength and grace are in perfect harmony with nature. “A meditative, enigmatic portrait of a middle-aged woman who lives alone on a remote Baltic island, it sometimes brings to mind JEANNE DIELMAN – we are, after all, observing a woman’s everyday life, acutely aware of her environment, the passage of time, and the smallest variations in her routine. … But THE ANcHORAGE is more insistent in its minimalism than Akerman (or Ozu, whose pillow shots are another reference point). There’s no plot to speak of, save for the eerie occasional appearance of a passing hunter. A film that forces and rewards close attention (which means not just watching but also, given the intricate sound recording and design, listening), it’s proof that you can make something, if not from nothing, then certainly from the in-between.” –Dennis Lim, ARTFORUM –Friday, september 17 through thursday, september 23 at 7:15 & 9:15 nightly. additional screenings on saturday and sunday at 5:15.
In one of the most momentous underground-film-related developments in recent memory, two films by the legendary playwright, counter-cultural figure, and founder of the Ridiculous Theatrical Company, Charles Ludlam, were discovered last year safely tucked away in Ludlam’s partner Everett Quinton’s closet. Rescued from oblivion through the efforts of filmmaker Ira Sachs and Butt Magazine contributing editor Adam Baran, curators of the Queer/Art/Film series, they were screened publicly for perhaps the very first time this past winter at the IFC Center. Their re-emergence is cause for great celebration, and we’re overjoyed to be presenting them both in a weekend of encore screenings, along with a selection of other movies made with Ludlam’s participation. These films are a bona fide revelation, and their discovery represents the restoration of a crucial and heretofore lost chapter in the history of underground film. “In the nineteen-seventies, Charles Ludlam, the founder of the Ridiculous Theatrical Company, started to make two films. But by the time he died, of complications from AIDS in 1987, the movies, both silent, were still not finished. … That Ludlam made films is not surprising; he was one of our nation’s most prolific artists, whose inspiration for his productions – precursors of some of today’s performance art – came from B movies, penny dreadfuls, opera, and his own sense of glee when it came to making his manic spectacles. Ludlam relied on a core group of performers to inspire him, including the phenomenal Black-Eyed Susan, Lola Pashalinski, and Ludlam’s hilarious partner, Everett Quinton, who helps keep Ludlam’s memory alive.” –Hilton Als, NEW YORKER very special thanks to Everett Quinton for the permission to present Ludlam’s films, as well as to Ira Sachs & Adam Baran, Mark Rappaport, Andrew Horn, Jim Neu, and Mary Keene (MoMA). For their time and effort in helping to recreate Ludlam’s films, Queer/Art/Film wishes to thank Andrei Alupului, Michael cozy, Antony Hegarty, Lucas Joaquin, Everett Quinton, Rajendra Roy, Katie Trainor, and Alexis Wiscomb.
80 minutes, video. With Everett Quinton, Minette, Arthur Kraft, Lola Pashalinski, John D. Brockmeyer, Black-Eyed Susan, and Richard France.
1966, 50 minutes, 16mm. Preserved by Anthology with support from the Andy Warhol Foundation for the visual Arts.
THE SORROWS OF DOLORES
MUSEUM OF WAX 22 minutes, video. With charles Ludlam, Everett Quinton, and Richard France.
THE SORROWS OF DOLORES is a feature based on early silent serials like THE PERILS OF PAULINE, while MUSEUM OF WAX is a short horror film starring Ludlam. Both films feature regular Ridiculous cast members like Everett Quinton, Minette, “crazy Arthur” Kraft, Lola Pashalinski, John D. Brockmeyer, and Black-Eyed Susan. Begun in the late 1970s and still uncompleted at the time of Ludlam’s death from AIDS in 1987, these films had only been screened three or four times for private audiences until they were rediscovered and restored by Queer/Art/ Film, and premiered at the IFc center in February. Though both were left silent, Peter Golub, long-time composer for the Ridiculous Theatrical company, has composed new scores for the films (in the case of DOLORES, incorporating fragments of the score he wrote, but never recorded, during the film’s production). Total running time: ca. 105 minutes.
–thursday, august 19 through sunday, august 22 at 7:00 nightly.
Unlike Warhol’s LUPE, which emphasizes the decline of Mexican Hollywood star Lupe velez (and Edie Sedgwick), Rodriguez-Soltero’s is a sumptuous film that celebrates both velez and Puerto Rican underground actor Mario Montez, who plays velez. Drawing on the collaboration of Theater of the Ridiculous stars Lola Pashalinski and charles Ludlam, LUPE is one of the finest films from the New York underground, offering an ecstatic explosion of color, costume, music, camp performance, and complex superimpositions. –thursday, august 19 at 9:15. lupe also screens as part of our antibiopics series, on July 25 & 30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
IMPOSTORS 1979, 110 minutes, 16mm. With charles Ludlam.
“Five chameleon New York characters (twin magicians/ assassins, two enigmatic women, a rich wimp), their passions masked by aggressive cool, wend their absurdly entertaining way through Rappaport’s customary comicopera catalogue of melodramatic disparities: a series of tableau visuals bursting with allusive emotional movement, sense of skeletal slapstick, a superabundance of 7
LUDWIG: REQUIEM FOR A VIRGIN KING
HITLER: A FILM FROM GERMANY
GOETHE-INSTITUT NEW YORK PRESENTS:
chArles lUDlAm on Film, cont’d.
inconsequential plot trails.” –TIME OUT LONDON “A strange, obsessive, darkly funny film that Rappaport has described as ‘an unholy union between THE MALTESE FALcON and REMEMBRANcE OF THINGS PAST’ – although that overlooks the obvious references to cole Porter, Boris Karloff, Jean cocteau and the Three Stooges. … campy as can be, IMPOSTORS is also a sober meditation on false and true love and the ways in which fictions of romance (particularly Hollywood’s fictions) permeate our lives.” –Gene Siskel –Friday, august 20 and sunday, august 22 at 9:15 each night. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DOOMED LOVE 1983, 75 minutes, video. With Bill Rice, Allen Frame, Rosemary Moore, charles Ludlam, Black-Eyed Susan, and Jim Neu.
“[A] witty send-up and a wise abstraction of the melodrama, combining elements of romantic mythology – songs, images, words and movements – to ask the question: where does myth end and life begin? Bill Rice ‘stars’ as a frustrated professor of romantic literature who reaches the end of his rope and resolves to be reunited with his deceased true love. When his attempt to hang himself fails, he finds renewed hope in the form of a nurse at his doctor’s office; newly married and still in love, she is nevertheless intrigued by his morbid romanticism. The action takes place on gigantic, expressionistic sets painted by artists Amy Sillman and Pamela Wilson; movements are exaggerated by being reduced to a minimum, and the dialogue, written by James Neu, calls up the romantic phraseology of the ages – from literature to Tv – strung together into a musical refrain and set to Evan Lurie’s score.” –PAcIFIc FILM ARcHIvE –saturday, august 21 at 9:15.
hAns-JÜrgen syBerBerg’s germAn trilogy September 9-14
As an extension of this calendar’s ANTI-BIOPICS series, we will be presenting very special screenings of Hans-Jürgen Syberberg’s “German trilogy”, a series of epic meditations on German history and culture through the prism of three historical figures: King Ludwig II, the enormously popular 19th-century writer Karl May, and Adolf Hitler, the subject of the monumental, seven-plus-hour, avant-garde masterpiece, HITLER: A FILM FROM GERMANY (aka OUR HITLER), unscreened in New York for more than a decade. As utterly original, visionary, uniquely cinematic investigations into historical meaning, these films have few parallels in the history of cinema, and they’re equally radical in their approach to the biographical film, wielding a dazzling profusion of modes and techniques to plumb the depths of their subjects. Special thanks to Hans-Jürgen Syberberg, Juliane camfield (Goethe-Institut New York), James Mockoski (American Zoetrope), and Andrew Youdell (BFI).
LUDWIG: REQUIEM FOR A VIRGIN KING / LUDWIG – REQUIEM FÜR EINEN JUNGFRÄULICHEN KÖNIG 1972, 140 minutes, 16mm. In German with English subtitles. With Harry Baer, Peter Kern, Ingrid caven, and Peter Moland.
Twenty-eight chapters from the life of Ludwig II of Bavaria (1845-1866) add up to what Syberberg calls “a summary of the Germany of the 19th century as experienced by the Germany of 1972.” Syberberg presents Ludwig as a sort of tortured witness of future times, with culture changing into barbarism, the Bismarckian state into totalitarianism, Wagner into the trivial music of the thirties. “The story of the last Bavarian King with his euphoria, his anxieties, his dreams told in a style of an oratorio or a medieval passion. Present and past are combined in a film of Wagnerian scenes, music of the thirties, Bavarian legends, ‘Oktoberfest’ waxworks, magic lantern, still life, surrealism, elements of silent films, guillotine, quotations from Goethe, Brecht, valentin, and Shakespeare.” –Hans-Jürgen Syberberg –thursday, september 9 and tuesday, september 14 at 7:30 each night.
1974, 187 minutes, 35mm. In German with English subtitles. With Helmut Käutner.
“The film describes the inner world of the last great German mystic at the beginning of the end of the fairy tale…in a kind of monologue in a monstrous intimate play”, Syberberg wrote of his film about the life of Germany’s most popular author. Karl May, a prolific and beloved writer, wrote rousing adventure tales set in America’s Wild West, which mythologized a rustic lifestyle that appealed to German sensibilities and may have inspired the Nazi Party. Syberberg’s meditation on May fuses theater, music, and cinema to offer a perspective on the writer as a man who mythologized himself as an extension of his art. –Friday, september 10 at 7:30 and monday, september 13 at 7:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
HITLER: A FILM FROM GERMANY / HITLER – EIN FILM AUS DEUTSCHLAND 1977, 429 minutes, 35mm. In English, German, French, and Russian with English subtitles. With Heinz Schubert, Harry Baer, Hellmuth Lange, Andre Heller, Peter Kern, and Amalie Syberberg.
“[O]ne of the great works of art of the 20th century and one of the greatest films ever made.” –Susan Sontag, NEW YORK REvIEW OF BOOKS The final, and certainly most ambitious, film in Syberberg’s trilogy is an epic nightmare rumination on Adolf Hitler, the cultural mechanisms underlying his mythic rise, and the effect he continues to wield over Germany. In a series of twenty-two tableaux set on a soundstage, Syberberg makes use of puppets, props, a thundering Wagnerian soundtrack, and rear-screen projection to evoke the origins of the Third Reich, Nazi Germany, and the disturbing aftermath. –saturday and sunday, september 11 & 12 at 2:00 each day.
series – ongoing
EMPIRE (several hours later)
THE HUMAN CONDITION
JonAs meKAs selects: BORING MASTERPIECES
Every calendar, filmmaker, artist, and patron saint of the avant-garde Jonas Mekas – exercising his prerogative as Anthology’s co-founder and Artistic Director – takes the reins for one or more nights each month, sharing the fruits of his vast movie-going experience and his very personal and all-embracing vision of the art form. This calendar sees the realization of an idea Jonas has been expounding on for years, a series based on his concept of the Boring Masterpiece. Positing boredom as a positive quality, in opposition to empty distraction or mindless sensationalism, Jonas has selected three films that challenge you to adjust yourself to their rhythms, to penetrate more deeply into the nature of things – that expand your mind rather than numb it. All three are guaranteed to bore you all the way to amazement! “During this calendar quarter you’ll see three films from my list of the Most Boring Masterpieces: Andy Warhol & John Palmer’s film, EMPIRE, Kobayashi’s THE HUMAN CONDITION, and Robert Kramer’s ICE. All three films take their time to tell what they have to tell. All three avoid extraneous dramas, cinematic tricks, or the temptation to please the viewer. They approach their subject matter with utmost respect and seriousness. It’s a kind of contemplative cinema rooted in reality or the memory of it, in a way that’s reminiscent of Emile Zola’s LE VENTRE DE PARIS (THE BELLY OF PARIS). None of these films will ever be popular, just as Zola’s novel has never been popular (it took 120 years to bring out a second edition of the novel in English, which finally appeared only recently). But they all are irreplaceable documents of our times. This is essential cinema.” –J.M.
1964, 8 hours and 5 minutes, 16mm. Photographed by Warhol and Jonas Mekas.
1959-61, 9 hours and 47 minutes, 35mm. In Japanese with English subtitles. With Tatsuya Nakadai and Ed Keane.
1969, 135 minutes, 16mm.
What better way to inaugurate the series than with the boringest masterpiece of them all: Andy Warhol’s monumental, conceptually ground-breaking (not to mention buttbreaking) EMPIRE. (Full disclosure: EMPIRE was photographed by Jonas – but who could argue that it doesn’t belong here?) The culmination of Warhol’s minimalist style, it consists of an 8-hour shot of the Empire State Building, filmed from evening into the early morning on July 25-26, 1964, from the 41st floor of the Time-Life building. A nighttime study of a skyscraper in slow motion, EMPIRE is a cinematic meditation on the nature of duration. Warhol himself wouldn’t have been caught dead watching the whole thing, but that doesn’t mean you shouldn’t give it your best shot! THOSE WHO HEROICALLY ENDURE THE ENTIRE FILM WILL BE REWARDED WITH A SPECIAL PRIZE!
In the fading days of WWII, young pacifist Kaji (Nakadai) is thrust into every aspect of Japan’s ill-fated Manchurian campaign. As he progresses from the manager of a labor camp to a grunt private experiencing the brutality of basic training to his final destiny as a soldier and prisoner of war, Kaji finds his idealism and basic faith in humanity challenged at every step. The very definition of ���epic”, Kobayashi’s HUMAN cONDITION trilogy is a landmark of socially critical filmmaking, an angry, lyrical triumph whose every moment enthralls.
–saturday, July 24 at 1:30.
THE HUMAN CONDITION
“A sprawling epic of love, war, heroism, and cruelty, but also, and most memorably, an intimately scaled chronicle of individual experience. Kobayashi was one of the leading figures in postwar Japanese cinema, and part of a broader humanist tendency in world cinema; THE HUMAN cONDITION is a work of large-scale realism like Satyajit Ray’s APU trilogy and Luchino visconti’s ROccO AND HIS BROTHERS.” –A.O. Scott, THE NEW YORK TIMES
PART I: NO GREATER LOVE 1959, 3 hours and 28 minutes.
–saturday and sunday, august 7 & 8 at 12:00 each day.
Hypnotically boring, IcE is the first film by the great radical filmmaker Robert Kramer to blur the boundaries between fiction and documentary, an approach he would pursue throughout his subsequent career. An underground revolutionary group struggles against internal strife and stages guerilla attacks against a fictional fascist regime in the U.S., with Kramer intercutting rhetorical sequences that explain the group’s philosophy of radical action and serve to restrain the melodrama inherent in the thriller genre. Shot in the gray landscape of NYc in a gritty cinéma-vérité style, IcE is reminiscent of Godard’s ALPHAvILLE. Writing about the film at the time for the vILLAGE vOIcE, Jonas declared it “the most original and significant American narrative film of the late sixties.” –thursday, september 2 at 7:30.
PART II: THE ROAD TO ETERNITY 1959, 3 hours and 3 minutes.
–saturday and sunday, august 7 & 8 at 4:00 each day.
PART III: A SOLDIER’S PRAYER 1961, 3 hours and 16 minutes.
–saturday and sunday, august 7 & 8 at 7:30 each day.
series – ongoing
WINGS OF DESIRE
AUstriAn cUltUrAl ForUm ny Presents:
AUstriAn Writers on Film
In collaboration with the Austrian Cultural Forum NY, Anthology presents an ongoing series devoted to the intersection of Austrian literature and cinema, featuring films written by, adapted from, or even directed by renowned Austrian novelists, dramatists, poets, and other writers. This calendar focuses on the work of Peter Handke, the renowned novelist who has collaborated on several projects with Wim Wenders (most famously, WINGS OF DESIRE), as well as directing several films of his own; Thomas Bernhard, one of the giants of modern Austrian literature and the subject of two films by avant-garde filmmaker Ferry Radax; and Friedrich Torberg, two of whose novels were adapted by Austrian filmmaker Wolfgang Glück, including the Academy-Award-winning ‘38 – AND THAT TOO WAS VIENNA. Stay tuned for more AUSTRIAN WRITERS ON FILM screenings on future calendars! very special thanks to Andreas Stadler & Martin Rauchbauer (Austrian cultural Forum), Ferry Radax & Felix Radax, Brigitta Burger-Utzer (Sixpack Films), Juliane camfield (Goethe-Institut New York), Brian Belovarac (Janus Films), Sonja Hofmann (Satel Film), and May Haduong (Academy Film Archive).
THOMAS BERNHARD – THREE DAYS / THOMAS BERNHARD – DREI TAGE
THE LEFT-HANDED WOMAN / DIE LINKSHÄNDIGE FRAU
’38 – AND THAT TOO WAS VIENNA / ’38 – AUCH DAS WAR WIEN
1970, 58 minutes, video.
“One of Radax’s trademarks are his made-for-Tv portraits of famous artists which alternate between documentation and interpretation, distance and embellishment. This early black-and-white portrait of Thomas Bernhard shows the writer sitting on a park bench, quiet and unapproachable, talking about childhood memories, loneliness, and writing, and the final result is rather austere. The point-of-view alternates between a variety of distances, and the scene is occasionally interrupted by black frames which resemble a drooping eyelid.” –Harry Tomicek, SIXPAcK FILMS –thursday, July 29 at 7:15 and Friday, July 30 at 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE ITALIAN / DER ITALIENER 1972, 75 minutes, 16mm.
“The lord of the castle was found, shot dead. The question of whether it was murder or suicide confused and frightened both family and servants. Only the dead man’s sister, with cold composure, has him laid out in splendor in the greenhouse. The Italian, a wealthy and apparently pampered young man, listens to Béla Bártok records in his suite for hours at a time. The castle is full of hungry mourners awaiting their breakfast. A frail Spanish guest experiments with firearms. Was he the one who fired the deadly shot? Everyone thinks better of informing the police. The affair remains a private matter.” –Ferry Radax –thursday, July 29 at 8:45 and Friday, July 30 at 7:15.
1977, 119 minutes, 16mm, color. In German with English subtitles. Screenplay by Peter Handke, based on his own novel. Produced by Wim Wenders. With Bernhard Minetti, Bruno Ganz, Edith clever, Gérard Depardieu, and Michael Lonsdale.
A woman living in the Paris suburbs struggles with a loveless marriage and apathy toward her family and friends, spending her days quietly wandering about her house. Handke wrote screenplays for a number of films directed by Wim Wenders (including WINGS OF DESIRE). Here, Wenders acts as producer while Handke provides both the scenario – an adaptation of his novel of the same name – and direction for this meditative examination of domestic ennui. –saturday, august 21 at 6:30 and sunday, august 22 at 8:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
WINGS OF DESIRE / DER HIMMEL ÜBER BERLIN 1987, 128 minutes, 35mm. In English, German, French, and Italian with English subtitles. With Bruno Ganz, Solveig Dommartin, Otto Sander, and Peter Falk.
“Wim Wenders’s ambitious and audacious feature focuses mainly on what’s seen and heard by two angels (Bruno Ganz and Otto Sander) as they fly over and walk through contemporary Berlin. These are the angels of the poet Rilke rather than the usual blessed or fallen angels of christianity, and Wenders and co-screenwriter Peter Handke use them partially to present an astonishing poetic documentary about the life of this city, concentrating on an American movie star on location (Peter Falk playing himself), a French trapeze artist (Solveig Dommartin), and a retired German professor who remembers what Berlin used to be like (curt Bois).” – Jonathan Rosenbaum, cHIcAGO READER –saturday, august 21 at 9:00 and sunday, august 22 at 6:00.
1987, 97 minutes, 35mm. In German with English subtitles. Print courtesy of the Academy Film Archive.
This Academy-Award-winning film, based on a novel by Friedrich Torberg, illustrates the rise of fascism and Nazism in late-30s vienna, developments whose signficance the film’s protagonists – a well-integrated Jewish journalist (Tobias Engel) and the popular non-Jewish actress to whom he is engaged – are largely unable to comprehend until it is too late. Directed by the prolific Wolfgang Glück, whose career spanned almost four decades, ’38 is a vivid and unforgettable depiction of the year of the Anschluss (the political unification of Nazi Germany and Austria), and is a classic account of individuals who believe themselves detached from political concerns but whose lives are overwhelmed by historical events beyond their control. –thursday, september 30 at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE STUDENT GERBER / DER SCHÜLER GERBER 1981, 95 minutes, video. In German with English subtitles.
Six years before making ’38, Glück adapted another Friedrich Torberg novel, THE STUDENT GERBER, written in 1930. The film’s protagonist, played by Gabriel Barylli, one of the best-known Austrian actors of the time, is Kurt Gerber, a student in his final year of high school whose new math professor treats him with unforgiving cruelty. Burdened both by his situation at school and by his father’s illness, Gerber is driven to despair. “Although the original novel is a criticism of the lingering academic traditions of the Old Order in the First Republic, the film treatment shifts the parable to an examination of the seeds of fascism.” –Robert von Dassanowsky, GREENcINE –thursday, september 30 at 9:00.
series – ongoing
NO DEPOSIT, NO RETURN BLUES
ON A PHANTOM LIMB
Anthology has always combined many different categories of screenings on every calendar – along with our theatrical premieres, thematic series, and auteur and actor retrospectives, we’re equally dedicated to programming the work of new, emerging, and all-too-rarely-seen avantgarde moving image artists. But we’ve never really had a suitable catchall tagline to identify these single-artist shows – until now. Starting this year we are highlighting one such program each month under the rubric NEW/IMPROVED/INSTITUTIONAL/QUALITY, an Owen Land-inspired title for a series that will, after all, feature new (and/or new to us) cutting edge works, exhibited at a hallowed institution, and whose high quality we’re more than prepared to guarantee. This calendar’s programs include a spotlight on Baltimore-based experimental filmmaker Stephanie Barber, KC Bull’s documentary about her father, legendary folk musician Sandy Bull, and gifted Boston filmmaker Nancy Andrews. Anthology gratefully acknowledges support for this program from the Experimental Television center’s Presentation Funds Program, which is supported by public funds from the Electronic Media and Film Program of the New York State council on the Arts.
JULY: STEPHANIE BARBER
Anthology welcomes Baltimore-based multi-media artist Stephanie Barber, who has been quietly amassing a remarkable body of work over the last 15 years, producing a steady stream of films and videos that are meticulously crafted and disarmingly modest. Barber uses cinema to explore the borders between text and image, photography and poetry, memory and loss. Each film creates its own whimsical world, teetering on the edge of sadness yet never maudlin. Barber’s intellectually playful works engage both brains and funny bones.
NO DEPOSIT, NO RETURN BLUES
“[Barber’s films] can feel like highly formal exercises in film language made by a profoundly restless mind, playing image and sound off each other and forcing you to locate implied meanings on your own. Others are both silly and oddly engaging, involving puppets mundanely discussing pressing metaphysical concerns. And others calmly and almost imperceptibly sweep you up in the genuine breadth of their emotional wake.” –Bret Mccabe, THE BALTIMORE cITY PAPER
flower, the boy, the librarian (1996, 6 minutes, 16mm) they invented machines (1997, 8 minutes, 16mm) shipfilm (1998, 3 minutes, 16mm) letters, notes (2000, 4.5 minutes, 16mm) catalog (2005, 11 minutes, 16mm) total power dead, dead, dead (2005, 3 minutes, 16mm) dwarfs the sea (2007, 7 minutes, video) the visit and the play (2008, 8 minutes, video) the inversion, transcription, evening track and attractor (2008, 13 minutes, video)
to the horse dream of arms (2010, 5 minutes, video) Total running time: ca. 75 minutes.
–saturday, July 31 at 6:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
woman stabbed to death (1996, 7 minutes, 16mm) these horizon (1997, 12 minutes, 16mm) city at heart (2003, 4 minutes, 16mm) dogs (2000, 15 minutes, 16mm) the end of the world (2001, 32 minutes, video) bust chance bar (harbor) counter
(2008/10, 6 minutes, video)
Total running time: ca. 80 minutes.
–saturday, July 31 at 8:30.
2004/09, 55 minutes, video.
A cult hero revered in folk circles and beyond for his incredible ability to play seemingly any stringed instrument, Sandy Bull’s virtuosity was only matched by his technological curiosity and inclination towards experimentation, both in the studio and onstage. Often compared to contemporaries such as John Fahey and Robbie Basho, Bull’s music merges influences from the worlds of jazz, classical, Arabic, and Indian composition, yet always retains an immediately distinctive feel that comes across as both effortless and timeless. NO DEPOSIT, NO RETURN BLUES shines a light on Bull’s unconventional life, bringing forward many unknown stories, interviews with friends and admirers (Wavy Gravy, Hamza El Din, Bob Neuwirth), as well as long unheard recordings from different periods in his career. If you know Bull’s music you’ll want to see this film, and if his name is new to you then it will serve as the ultimate introduction. Screening with:
KC Bull OMA (2001, 10 minutes, 16mm-to-video) A short portrait about Kc’s grandmother (Sandy’s mom) Daphne Hellman. Daphne was a harpist in NYc who played everything from Bach to boogie woogie. The portrait traces Daphne’s life through stories of her career playing harp and of her several marriages to New York socialites. The film includes footage of Daphne and her long-time musical partner, Mr. Spoons, performing in the Subway. –sunday, august 29 at 7:00.
SEPTEMBER: OUT ON A LIMB WITH NANCY ANDREWS We are eager to invite you to the New York city premiere of two far-out, fantastic new short films by the uniquely gifted artist Nancy Andrews. Active as an animator since the early 90s, Andrews’s wildly inventive works often focus on fantastic transformations and are constructed from an inspired mix of live action, animation, archival imagery, and faked found footage, among other elements. Humorous and engaging, visually arresting and very moving, Andrews is a filmmaker with a unique touch, a distinctive style, and something real to say. Screening alongside Andrews’s films is a certified classic from one of her main inspirations, the inimitable Fleischer Brothers.
ON A PHANTOM LIMB (2009, 35 minutes, video) This film examines the journey of a human-made hybrid, a surgical creation – part woman, part bird – passing through death, purgatory, and returning to life. The boundaries of reality, fantasy, documentary, and fiction are blurred in this reprise of classic themes, dilemmas, and consequences of reanimation. “The monster did not choose this for her self, to be an amalgam for alchemy.”
Dave Fleischer SNOW-WHITE (1933, 7 minutes, 16mm) Betty Boop stars as you-know-who in this whacked-out reworking of a classic fable. And doesn’t that clown sound a lot like cab calloway? All hail the Fleischer Brothers!
THE EARS ARE BEHIND THE EYES (2010, 25 minutes, video) This mix of 16mm, animation, found footage, and liveaction footage follows the research of Dr. Sheri Myes and her revolutionary attempts to expand our perceptions and consciousness. The filmmaker began the project by writing a song cycle, and then imagery was developed through a series of drawings. The film is influenced by classic ‘mad scientist’ horror films like DR. JEKYLL AND MR. HYDE, and by research into the physiology of insects. Total running time: ca. 70 minutes.
–thursday, september 23 at 7:30.
series – July
PEOPLE’S FIREHOUSE #1
THE POLICE TAPES
the oUter BoroUghs on Film •
As New York City becomes increasingly decentralized, with much (though not all) of Manhattan transformed into a gentrified, homogenous, affluent playground, the greater part of the city’s vibrancy and identity have become more deeply rooted in its extremities, the outer boroughs of Brooklyn, the Bronx, Queens, and even Staten Island. Each is a city-sized entity with an energy, diversity, and cultural and historical richness that few other independent cities can lay claim to. To celebrate the outer boroughs, we’re devoting a weekend to several programs of short and feature-length documentaries, most from the 70s and 80s, that focus on some of NYC’s most memorable neighborhoods, communities, shops, and individuals. While Manhattan may remain disproportionately represented on screen, these works demonstrate the beauty, drama, and vitality that exist throughout the city. curated by Lauren Madow; special thanks to David callahan & Elena Rossi-Snook (New York Library for the Performing Arts), Joy Holland (Brooklyn Public Library), Patrick Tarrant, Alexandra cuesta, Hector canonge, Barry Braverman, Ann-carol Grossman, Bonnie Friedman, Ghislaine Hermanuz, Philip Maysles, Gary Weis, Alan Raymond, Herbert Danska, Frank Mouris & caroline Ahlfors Mouris, Ryan Krivoshey (cinema Guild), Roselly A. Torres Rojas (Third World Newsreel), and Russell Kummer (Broadway video).
Herbert Danska UPTOWN: PORTRAIT OF THE SOUTH BRONX (1965, 29 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts; preserved with funding from the New York State Library, Division of Library Development.)
A study of a disadvantaged community within the city of New York, situated in a triangle at the southern tip of the borough of the Bronx, the film includes scenes of tenements, streets, parks, churches, markets, dance halls, and playgrounds, revealing the way of life of its people, their desperation and their hope.
Newsreel LINCOLN HOSPITAL (1970, 12 minutes, video)
When a city-run health clinic in the South Bronx fails to meet the needs of the city, local residents and health workers force a strike and then run the clinic themselves.
William Sarokin SIMPSON STREET
(1979, 22 minutes, 16mm)
A brief but compelling history of New York’s devastated South Bronx, showing reasons for its decline, and introducing the people who live there and some of their efforts to rebuild their economy.
Patrick Tarrant SLOW BOAT TO QUEENS (2009, 8 minutes, video)
Tracing the vectored movement of the city’s mobile machines and people carriers, this film seeks to give perspective to what it means to be human in their midst.
Alexandra Cuesta RECORDANDO EL AYER (2004, 9 minutes, 16mm)
Barry Braverman MURITA CYCLES
(1978, 28 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts.)
Braverman’s portrait of his father, who runs a shop selling used bicycles and innumerable other objects in Staten Island, is a remarkable, unexpectedly moving, and disarmingly candid character study.
Paul Schneider PEOPLE’S FIREHOUSE #1 (1979, 25 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts.)
This film portrays the campaign by residents, mostly Polish, of Brooklyn’s Northside community as they battle to re-open their local firehouse, Engine company 212, closed by the city’s budget cuts.
Renee Fraser & Ann-Carol Grossman KEEP ‘EM FLYING (1981, 29 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts; preserved with funding from the carnegie corporation of New York.)
Focusing on the sport of flying domesticated pigeons from Brooklyn rooftops, this film documents pigeon flyers caring for their flocks and trading stories and strays in the neighborhood pet shop.
Caroline Ahlfors Mouris & Frank Mouris CONEY (1975, 5 minutes, 16mm)
A personal and impressionistic response to a year in coney Island.
Nick Manning HOT BAGELS (1979, 16 minutes, video) A film capturing the process of making bagels by hand, along with commentary on the changing nature of the bagel business, and the bagel shop’s place in the neighborhood.
Sol Rubin TRINIDAD IN BROOKLYN (1985, 10 minutes, video)
Memory and identity are observed through textures of everyday life in a portrait of Jackson Heights, home to a large Latin American immigrant population.
A film about “a Mardi Gras of Black Islanders through an Orthodox Jewish area. The festive and pious seem to coexist.”
Total running time: ca. 85 minutes.
Total running time: ca. 120 minutes.
–Friday, July 9 at 7:30. 12
BrooKlyn/stAten islAnD ProgrAm
–saturday, July 10 at 6:00.
BrooKlyn ProgrAm Diego Echeverria
1983, 70 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts.
A portrait of one of NYc’s poorest neighborhoods, the primarily Hispanic section of Williamsburg, Brooklyn, known as Los Sures, the film examines the lives of five Puerto Rican residents of the area. With:
Bonnie Friedman THE FLASHETTES (1977, 20 minutes, 16mm)
A documentary about the growing self-confidence of the members of a black, all-girl track team from Bedford-Stuyvesant.
BLACK JOURNAL: DIGGING FOR BLACK PRIDE (1971, 19 minutes, video)
This film documents a classroom program in which black children in Bedford-Stuyvesant learn about their 19th-century ancestors from the then newly-discovered village of Weeksville, and their African heritage. Total running time: ca. 115 minutes.
–saturday, July 10 at 8:45.
series – July
AIN’T GONNA EAT MY MIND
BronX, ProgrAm 1 Tony Batten
AIN’T GONNA EAT MY MIND 1972, 34 minutes, 16mm. Print courtesy of the Reserve Film and video collection of the New York Public Library for the Performing Arts.
The story of the murder of a young gang member in the South Bronx and its aftermath, culminating in a summit meeting of gang leaders. &
80 BLOCKS FROM TIFFANY’S 1979, 67 minutes, video.
A documentary depicting the daily life of gangs within the context of the South Bronx. It deals primarily with two African American and Puerto Rican gangs known as the “Savage Skulls” and the “Savage Nomads”. Total running time: ca. 105 minutes.
–sunday, July 11 at 5:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
BronX, ProgrAm 2 Alan & Susan Raymond
THE POLICE TAPES 1976, 90 minutes, video.
This groundbreaking, profoundly influential film reveals the life of a police precinct in the South Bronx in a period when the neighborhood was perhaps at its most blighted. Alan and Susan Raymond were allowed unprecedented access to the police force, interviewing the officers and following them on a typical day, and the result is an unforgettable document. –sunday, July 11 at 8:00.
Burckhardt, Rudy. New York 1940. Gelatin silver print, 1981. 9 x 12 inches. Signed, titled, dated & editioned in pencil on verso.
PURCHASE GREAT ART AND HELP ANTHOLOGY! Since the early 1980s, Anthology Film Archives has received donations of artwork, directly from our artist friends, to help raise much-needed operating and capital improvement funds. Beginning in 2010, as we approach our 40th anniversary this November, Anthology will publish an annual, extremely limited-edition portfolio of new works on paper donated by many of the leading contemporary artists of the day. HELP ANTHOLOGY BY PURCHASING GREAT ART! Not only can you purchase affordable, vintage works today by major 20th-century artists (Helen Levitt, Alice Neel, Stephen Shore, Aaron Siskind...), but soon – very soon – you will be able to acquire new original works commissioned from many more celebrated figures and bright new voices in 21st-century art. Please call 212-505-5181 x11 or email email@example.com for more information.
series – July-august
THE COLOR OF POMEGRANATES
Anti-BioPics July 14-August 1
The word ‘biopic’ strikes well-founded fear into the heart of many serious filmgoers, calling to mind the steady stream of bloated, big-budget, hare-brained films produced in Hollywood and elsewhere that delight in recruiting glamorous movie-stars to impersonate various famous or infamous figures whose lives are shoehorned into a depressingly prefab, reductive mold. The biopic is one of the most ubiquitous and perennial of cinematic genres, but it has developed conventions that are spectacularly ill-suited to conveying the messiness, the complexity, and the essential, ultimately impenetrable mystery of a real human life. But it doesn’t have to be thus. Though always overshadowed by the GANDHIs, CAPOTEs, and WALK THE LINEs of the world, there is a glorious alternative tradition of films that have experimented with more sophisticated, evocative, and visionary ways of conveying the essence of a human life, of capturing a particular figure’s sensibility or exploring the significance of their experience. This summer Anthology presents an eclectic selection of these innovative, experimental, and just plain far-out biographical films (‘antibiopics’, for lack of a better term). Roughly divided into two halves (films about pre-20th- and 20th-century figures), the series features films about artists, philosophers, scientists, world leaders, and saints, made by filmmakers as varied as Roberto Rossellini, Andy Warhol, Ken Russell, Derek Jarman, Robert Altman, and Alexander Sokurov. And as a very special supplementary program, in September we will be presenting Hans-Jürgen Syberberg’s remarkable and rarely-screened “German trilogy”, featuring the monumental HITLER: A FILM FROM GERMANY (aka OUR HITLER) (see page 8). Prepare to be educated and dazzled all at once! Special thanks to Mark Rappaport, Paul Schrader, Brian Belovarac & Sarah Finklea (Janus Films), Jonathan Howell (New Yorker Films), Laurence Berbon (Tamasa Distribution), Delphine Selles-Alvarez (cultural Services of the French Embassy), Benjamin crossley-Marra (Zeitgeist Films), Paul Ginsburg (Universal Pictures), Gary Palmucci (Kino International), Ken Eisen (Shadow Distribution), Mark McElhatten, Anne Morra, Mary Keene & Kitty cleary (MoMA), Stephen Lu (Asian Media Access), cristina Prado & Alejandro Díaz (Instituto Mexicano de cinematografía), Aldo Sánchez Ramírez & Sebastian Mitre (Mexican cultural Institute), Frida Maceira (Tequila Gang/Salamandra Producciones), Alejandra Menache Hernandez & Jaime Aguilar Alvarez Gonzalez (Fundación Televisa), carlos Gutiérrez (cinema Tropical), Matthew Seig (Sandcastle 5 Productions), Todd Wiener & Steven Hill (UcLA Film & Television Archive), Marilee Womack (Warner Bros), and Bradley Eros.
PRE-20TH CENTURY: Ken Russell
LISZTOMANIA 1975, 103 minutes, 35mm. With Roger Daltrey, Paul Nicholas, and Ringo Starr.
Russell reinvents the biopic as a gleefully anachronistic, grossly obscene, unapologetically tasteless, and genuinely unhinged phantasmagoria, with piano virtuoso and composer Franz Liszt presented as a proto-rock-star (no great stretch for The Who’s Roger Daltrey) locked in a Manichean struggle with the satanic Richard Wagner. While most of the films in this series challenge biopic conventions by eschewing psychology, practicing formal experimentation, or developing a filmic style reflective of their subjects’ art, LISZTOMANIA does so via power-pop musical numbers, Frankenstein monster Nazis, and giant penises. This is Ken Russell at his most excessive (which is to say, prepare to take cover!). –Wednesday, July 14 at 7:00 and saturday, July 17 at 9:00.
1968, 79 minutes, 35mm. In Armenian with English subtitles.
1993, 75 minutes, 35mm. With Karl Johnson, Tilda Swinton, and Michael Gough.
THE COLOR OF POMEGRANATES / SAYAT NOVA Representing one extreme within the spectrum of innovative approaches to the biographical film, Paradjanov’s masterpiece pays tribute to the 18th-century Armenian poet Sayat Nova by means of a series of striking, mysterious, and enigmatic tableaux, evoking the poet’s childhood and youth, his days as a troubadour at the court of King Heraclius II of Georgia, his retreat to a monastery, and his old age and death, as well as suggesting something of the nature of his sensibility. POMEGRANATES is arguably the most radical and visionary of all biographical films. –Wednesday, July 14 at 9:15, saturday, July 17 at 7:15, and thursday, July 22 at 9:00.
WITTGENSTEIN Seven years after the release of his highly personal, studio-bound, freely anachronistic portrait of the painter caravaggio, Jarman made this even more stylized biographical study of one of the 20th century’s most influential philosophers. Shot on a soundstage with radically minimalist sets consisting of little more than a handful of suggestive props, Jarman stages significant moments from Wittgenstein’s life, played out in a vacuum of darkness suggestive of a philosophically-charged void. Utilizing a series of ploys to undercut biopic clichés – including directaddress to the camera, unapologetically anachronistic touches, and the appearance of an alien who engages in dialogue with the young Wittgenstein – Jarman conjures a highly meditative and experimental exploration of the philosopher’s life and thought. –thursday, July 15 at 7:00 and monday, July 19 at 9:30.
– continues on page 19 –
3:30 Kwan CENTER STAGE, p 20 6:00 Warhol LUPE & Rodriguez-Soltero LUPE, p 21 6:30 EC: Warhol/Whitney PGM, p 3 8:00 EC: Warhol MY HUSTLER, p 3 8:30 Leduc FRIDA, p 21
9:00 Rossellini CARTESIUS, p 19
6:30 Rossellini BLAISE PASCAL, p 19
6:00, 7:00 NEWFILMMAKERS, p 30
ANTI-BIOPICS, July 14–August 1
9:15 Sokurov THE SUN, p 20
9:00 Schrader MISHIMA, p 21
7:30 Watkins EDVARD MUNCH, p 20
6:00, 7:15, 9:15 NEWFILMMAKERS, p 30
ANTI-BIOPICS, July 14–August 1
6:45 Rosi SALVATORE GIULIANO, p 20
9:00 Cavalier THÉRÈSE, p 19
7:00 Cox WALKER, p 19
7:00 Shengelaya PIROSMANI, p 21
9:30 Jarman WITTGENSTEIN, p 14
6:30 Fellini FELLINI’S CASANOVA, p 19
9:15 Paradjanov COLOR OF POMEGRANATES, p 14
8:00 OUTER BOROUGHS: Bronx PGM 2, p 13
3:15 Rossellini CARTESIUS, p 19 5:30 & 7:45 EC: Riefenstahl TRIUMPH OF THE WILL, p 3 6:30 Straub & Huillet CHRONICLE OF ANNA MAGDALENA BACH, p 19 8:30 Rossellini BLAISE PASCAL, p 19
7:00 Russell LISZTOMANIA, p 14
6:30 & 8:30 EC: Kenneth Anger PGM, p 2
14 6:00, 7:30, 8:45 NEWFILMMAKERS, p 30
6:00, 7:30, 8:45 NEWFILMMAKERS, p 30
6:00, 7:15, 9:00 NEWFILMMAKERS, p 29-30
5:30 OUTER BOROUGHS: Bronx PGM 1, p 13
6:00, 7:15, 8:45 NEWFILMMAKERS, p 29
6:00, 7:15, 8:15 NEWFILMMAKERS, p 29
6:00 Iguchi & Nishimura ANCIENT DOGOO GIRL, p 25
6:00, 7:30, 8:45 NEWFILMMAKERS, p 29
6:00, 7:20, 8:30 NEWFILMMAKERS, p 29
5:30 Yablonski WILLIE NELSON’S 4TH OF JULY CELEBRATION, p 25
7:00 Altman SECRET HONOR, p 20 7:15 ACFNY: Radax THOMAS BERNHARD – THREE DAYS, p 10 8:45 ACFNY: Radax THE ITALIAN, p 10 9:00 Kwan CENTER STAGE, p 20
9:00 Paradjanov COLOR OF POMEGRANATES, p 14
7:30 UNESSENTIAL: Serials: First Things First, p 25
7:00 Cavalier THÉRÈSE, p 19
ANTI-BIOPICS, July 14–August 1
8:45 Straub & Huillet CHRONICLE OF ANNA MAGDALENA BACH, p 19
7:00 Jarman WITTGENSTEIN, p 14
7:00 Schrader MISHIMA, p 21 7:15 ACFNY: Radax THE ITALIAN, p 10 9:00 ACFNY: Radax THOMAS BERNHARD – THREE DAYS, p 10 9:30 Warhol LUPE & Rodriguez-Soltero LUPE, p 21
9:30 Altman SECRET HONOR, p 20
8:00 EC: Valentin/Vigo PGM, p 3
7:00 Rosi SALVATORE GIULIANO, p 20
9:00 Cox WALKER, p 19
7:30 & 8:45 EC: Jack Smith FLAMING CREATURES, p 2
7:00 Cavalier THÉRÈSE, p 19
7:30 OUTER BOROUGHS: Bronx/Queens PGM, p 12
7:00 & 9:00 EC: Rossellini FLOWERS OF ST. FRANCIS, p 2
4:30 Sokurov THE SUN, p 20 6:30 Stephanie Barber, PGM 1, p 11 7:00 Leduc FRIDA, p 21 8:30 Stephanie Barber, PGM 2, p 11 9:15 Rappaport FROM THE JOURNALS OF JEAN SEBERG, p 20
8:30 Watkins EDVARD MUNCH, p 20
6:00 Sokurov THE SUN, p 20
3:45 Rappaport FROM THE JOURNALS OF JEAN SEBERG, p 20
1:30 Warhol EMPIRE, p 9
4:15 Fellini FELLINI’S CASANOVA, p 19 7:00 EC: Snow WAVELENGTH, p 2 7:15 Paradjanov COLOR OF POMEGRANATES, p 14 8:15 EC: Snow BACK AND FORTH, p 2 9:00 Russell LISZTOMANIA, p 14
6:00 OUTER BOROUGHS: Brooklyn/Staten Island PGM, p 12 6:15 EC: Harry Smith PGM, p2 8:15 EC: Harry Smith HEAVEN & EARTH MAGIC, p 2 8:45 OUTER BOROUGHS: Brooklyn PGM, p 12
8:00 Yablonski WILLIE NELSON’S 4TH OF JULY CELEBRATION, p 25
6:00, 7:15, 8:45 NEWFILMMAKERS, p 29
6:00, 7:30, 9:00 NEWFILMMAKERS, p 29
6:00, 7:45, 8:45 NEWFILMMAKERS, p 28
7:00 Auder & Neel THE FEATURE, p 7 (AprilJune calendar)
7:00 KC Bull NO DEPOSIT, NO RETURN BLUES, p 11
9:15 Rappaport IMPOSTORS, p 7-8
8:45 ACFNY: Handke LEFTHANDED WOMAN, p 10
7:00 Ludlam SORROWS OF DOLORES & MUSEUM OF WAX, p 7
6:00 ACFNY: Wenders WINGS OF DESIRE, p 10
2:15 Flynn DEFIANCE, p 22 4:30 Montaldo MACHINE GUN MCCAIN, p 23 5:00 EC: Vertov THREE SONGS ABOUT LENIN, p 4 6:45 Cardiff THE MERCENARIES, p 23 7:30 EC: Vertov ELEVENTH YEAR, p4 9:00 Frankenheimer 99 AND 44/100% DEAD, p 23
12:00 Kobayashi HUMAN CONDITION, PART 1, p 9 4:00 Kobayashi HUMAN CONDITION, PART 2, p 9 4:00, 5:30, 7:00 & 8:30 de Oliveira ECCENTRICITIES..., p 5 7:30 Kobayashi HUMAN CONDITION, PART 3, p 9
5:00 Watkins EDVARD MUNCH, p 20 5:30 EC: Baillie QUICK BILLY, p3 7:30 EC: Baillie/Crockwell PGM, p 3 8:30 Shengelaya PIROSMANI, p 21
9:00 Verneuil THE BURGLARS, p 22
7:00 Verneuil FEAR OVER THE CITY, p 22
7:00 & 8:30 de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, p 5
7:00 & 8:30 de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, p 5
6:00, 7:15, 8:30 NEWFILMMAKERS, p 30-31
7:30 EC: Vertov SIXTH OF THE WORLD, p 4
6:00, 7:00, 9:00 NEWFILMMAKERS, p 30
9:30 Verneuil FEAR OVER THE CITY, p 22
7:00 & 8:30 de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, p 5
6:45 Verneuil THE BURGLARS, p 22
7:30 EC: Vertov FORWARD SOVIET!, p 4
9:15 Kaplan WHITE LINE FEVER, p 22
7:00 Flynn DEFIANCE, p 22
20 6:45 Cohen PRIVATE FILES OF J. EDGAR HOOVER, p 22 7:00 Ludlam SORROWS OF DOLORES & MUSEUM OF WAX, p 7 9:15 Rappaport IMPOSTORS, p 7-8 9:30 Pierce TOWN THAT DREADED SUNDOWN, p 22
7:00 Ludlam SORROWS OF DOLORES & MUSEUM OF WAX, p 7 7:15 Frankenheimer 99 AND 44/100% DEAD, p 23 9:15 Rodriguez-Soltero LUPE, p7 9:30 Cardiff THE MERCENARIES, p 23
9:15 Flynn DEFIANCE, p 22
7:30 EC: Vertov KINO-EYE, p 4
7:00 Kaplan WHITE LINE FEVER, p 22
8:00 EC: Vertov ENTHUSIASM, p4
7:00 & 8:30 de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, p 5
AUGUST 23-28 – GONE FISHING!
9:00 Verneuil SICILIAN CLAN, p 23
7:00 Montaldo MACHINE GUN MCCAIN, p 23
6:00, 7:15, 8:45 NEWFILMMAKERS, p 31
PREMIERE RUN: Manoel de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, August 6-12
7:00 & 8:30 de Oliveira ECCENTRICITIES OF A BLOND HAIR GIRL, p 5
AUgUst 2010 sAtUrDAy
9:15 Horn DOOMED LOVE, p 8
9:00 ACFNY: Wenders WINGS OF DESIRE, p 10
7:00 Ludlam SORROWS OF DOLORES & MUSEUM OF WAX, p 7
6:30 ACFNY: Handke LEFTHANDED WOMAN, p 10
2:15 Cohen PRIVATE FILES OF J. EDGAR HOOVER, p 22 4:45 Pierce TOWN THAT DREADED SUNDOWN, p 22 6:00 & 8:30 EC: Vertov MAN WITH A MOVIE CAMERA, p 4 6:45 Verneuil SICILIAN CLAN, p 23 9:30 Montaldo MACHINE GUN MCCAIN, p 23
12:00 Kobayashi HUMAN CONDITION, PART 1, p 9 4:00 Kobayashi HUMAN CONDITION, PART 2, p 9 4:00, 5:30, 7:00 & 8:30 de Oliveira ECCENTRICITIES..., p 5 7:30 Kobayashi HUMAN CONDITION, PART 3, p 9
6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
3:30, 6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
8:30 WAR TRIALS, FILM TBA, p 24
6:00 Rithy Panh S21, p 24
5:15, 7:15 & 9:15 Winter & Edström THE ANCHORAGE, p 7
7:30 Henry Hills ASTRONOME, p 26
5:00 Miguel Gomes SHORTS PGM, p 6
7:15 & 9:15 Winter & Edström THE ANCHORAGE, p7
6:00, 7:00 NEWFILMMAKERS, p 31
7:30 Syberberg LUDWIG, p 8
6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
6:00, 6:30, 8:15 NEWFILMMAKERS, p 31
8:00 CROSSING THE LINE 2010: Bertrand Bonello, p 27
7:15 & 9:15 Winter & Edström THE ANCHORAGE, p7
7:30 EC: Stan Brakhage PGM, p5
6:00, 7:00, 8:15 NEWFILMMAKERS, p 31
29 6:00, 7:15, 8:15 NEWFILMMAKERS, p 31
28 7:00 NYWIFT PGM, p 28
9:00 ACFNY: Glück THE STUDENT GERBER, p 10
7:00 ACFNY: Glück ’38 – AND THAT TOO WAS VIENNA, p 10
7:30 Nancy Andrews PGM, p 11
7:15 & 9:15 Winter & Edström THE ANCHORAGE, p7
7:30 Lowell Bodger Memorial, p 26
7:30 Syberberg LUDWIG, p 8
6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
7:30 Kramer ICE, p 9
6:00, 7:00, 8:15 NEWFILMMAKERS, p 31
7:00 EC: Stan Brakhage PGM, p4
6:00, 7:00, 8:00 NEWFILMMAKERS, p 31
THE FILMS OF MIGUEL GOMES, September 3-12
6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
PREMIERE RUN: Winter & Edström THE ANCHORAGE, September 17–23
7:15 & 9:15 Winter & Edström THE ANCHORAGE, p7
7:30 Flaherty NYC, p 26
7:00 Syberberg KARL MAY, p 8
2:00 Syberberg HITLER: A FILM FROM GERMANY, p 8
2:30 Gomes THE FACE YOU DESERVE, p 6
7:30 EC: Brakhage TEXT OF LIGHT, p 5
5:30 EC: Stan Brakhage PGM, p5
sePtemBer 2010 FriDAy
7:30 Lynne Sachs PGM, p 27
7:30 Lynne Sachs PGM, p 27
9:00 Delage NUREMBERG, p 24
6:30 Rithy Panh S21, p 24
4:00 WAR TRIALS, FILM TBA, p 24 5:15, 7:15 & 9:15 Winter & Edström THE ANCHORAGE, p 7
4:15 Miguel Gomes SHORTS PGM, p 6 6:30 Gomes OUR BELOVED MONTH OF AUGUST, p 6 9:30 Gomes THE FACE YOU DESERVE, p 6
2:00 Syberberg HITLER: A FILM FROM GERMANY, p 8
7:30 EC: Brakhage SONGS 1-14, p 4
5:00 EC: Brakhage PITTSBURGH TRILOGY, p 4
3:30, 6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
9:15 Rithy Panh S21, p 24
7:15 & 9:15 Winter & Edström THE ANCHORAGE, p7
7:00 Delage NUREMBERG, p 24
9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
7:30 Syberberg KARL MAY, p 8
6:45 Gomes THE FACE YOU DESERVE, p 6
7:30 EC: Brakhage DOG STAR MAN, p 4
6:30 & 9:15 Gomes OUR BELOVED MONTH OF AUGUST, p 6
aFa neWs – summer 2010 40th anniversary beneFit concert! Anthology Film Archives celebrated its 40th anniversary with a very special benefit concert at Manhattan’s Hiro Ballroom on May 19. Avantgarde legend Kenneth Anger was also honored, receiving a lifetime achievement award from Jonas Mekas. The evening was emceed by actor Ben Foster (THE MESSENGER), deejayed by Moby, and featured performances from Sonic Youth, Lou Reed, Jihae, the Virgins, Now We Are Here (headlined by Jonas), and Kenneth Anger & Brian Butler’s Technicolor Skull, all of whom played to projections of films Anthology has preserved over the years. With remarkable performances from
CELEBRATING 40 YEARS!
all the bands, the once-in-a-lifetime spectacle of Anger playing the theremin, and a surprise appearance by actor Philip Seymour Hoffman, it was an unforgettable evening! Many thanks to all the artists, as well as all those who attended and contributed towards the event.
aFa launches a brand-neW Website! By the time this calendar sees print, Anthology’s brand-new website will be a reality! The new site, which has been in the works for many months, represents a major upgrade both aesthetically and practically, and will ultimately allow us to provide access to a great many selections from our extraordinary collections of films, stills, audio recordings, and unique documents.
louise bourgeois, 1911-2010 Artist Louise Bourgeois was one of Anthology’s most generous and steadfast supporters, as well as a frequent presence here on-screen, thanks to the series of documentary portraits filmmaker Brigitte Cornand made with the artist, and which we have had the honor to premiere and revive through the years. Louise also contributed two original, and very striking, art-works for the cover of our quarterly film calendar. She was one of the greatest artists and most inspiring figures of the 20th century, and we deeply mourn her passing. Our fall calendar will feature a special film program in tribute to her extraordinary life and work.
callie angell, 1948-2010 This spring saw the passing of another treasured member of the Anthology community as well: writer, curator, and Andy Warhol scholar Callie Angell. Callie worked as Anthology’s librarian in the mid-seventies, was the recipient of one of our Film Preservation Honors in 1996, and collaborated with us on film programs in recent years. In tribute to her, we are dedicating our Essential Cinema Andy Warhol screenings on Sunday, July 25 to her memory (see page 3).
series – July-august
CHRONICLE OF ANNA MAGDALENA BACH
Anti-BioPics, July 14-August 1, cont’d.
PRE-20TH CENTURY cont’d:
Jean-Marie Straub & Danièle Huillet
1987, 94 minutes, 35mm. With Ed Harris and Peter Boyle; written by Rudy Wurlitzer.
1974, 162 minutes, video. In Italian with English subtitles.
CHRONICLE OF ANNA MAGDALENA BACH / CHRONIK DER ANNA MAGDALENA BACH
1968, 94 minutes, 35mm. In German with English subtitles. With Gustav Leonhardt and christiane Lang.
This beautiful, lucid account of the last 27 years of the life of J.S. Bach (as played by Dutch harpsichordist Gustav Leonhardt), seen through the eyes of his second wife, is mediated partly through documents but mostly through Bach’s own music, performed in original locations and “used neither as accompaniment nor as commentary but as aesthetic material in its own right” (Straub). This is among the most de-dramatized and materialist of biographical films. –thursday, July 15 at 8:45 and sunday, July 18 at 6:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
1986, 94 minutes, 35mm. In French with English subtitles.
“Thérèse Martin died of neglect and consumption in a carmelite convent at the age of 25, leaving behind little more than a slim volume of memoirs and a reputation for piety and self-mortification. Like an obsessed artist or athlete, she had honed her life for one end – the sainthood she was granted in 1925, less than three decades after her death. In brief and limpid episodes cavalier bares the masochism, eroticism, and purity at the heart of Thérèse’s self-enclosed crusade. … [The film] evokes equally the atavistic appeal and repulsiveness of fanatic faith and unrelenting vision. Unfolding with the cumulative rhythms of prayer, it achieves by the end the intensity and ambivalence of a religious experience.” –Peter Keough, cHIcAGO READER –Friday, July 16 at 7:00, tuesday, July 20 at 9:00, and thursday, July 22 at 7:00.
WALKER “[T]his delirious fantasy about William Walker, the American who ruled Nicaragua from 1855 to 1857, is all over the place and excessive, but as a radical statement about the U.S.’s involvement in that country it packs a very welcome wallop. … Deliberate and surreal anachronisms plant the action in a historical version of the present, and David Bridges’s cinematography combined with a liberal use of slow motion creates a lyrical depiction of carnage and devastation. … One can certainly quarrel with some aspects of the film’s treatment of history, but with political cowardice in commercial filmmaking so prevalent, one can only admire this movie’s gusto in calling a spade a spade, and the exhilaration of its anger and wit.” –Jonathan Rosenbaum, cHIcAGO READER –Friday, July 16 at 9:00 and tuesday, July 20 at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FELLINI’S CASANOVA / IL CASANOVA DI FEDERICO FELLINI 1976, 148 minutes, 35mm. In English, Italian, French, and German with English subtitles. With Donald Sutherland and Tina Aumont.
Fellini’s late-career film is a phantasmagoric portrait of the notorious womanizer, and, despite its typically Felliniesque spectacle, one of the director’s bleakest and most pessimistic films. Portraying casanova (Sutherland, in a remarkable performance) in his waning days, engaging in various amorous and political adventures with an air of bored detachment as he travels through a disease-ridden Europe, the film debunks the myth of casanova as a great lover and instead presents him as an ordinary man swept along by extraordinary circumstances. “Imbued with an air of funereal solemnity and elegance, cASANOvA forsakes realism in favor of a stylized romantic pessimism which confronts impotence, failure, sexuality, and exploitation as fully as Pasolini’s SALÒ. Although teetering at times dangerously close to Ken Russell, the visual daring and pure imagination of every image leave it as an elegiac farewell to an era of Italian cinema; and Sutherland’s performance is the most astonishing piece of screen acting since Brando’s in LAST TANGO IN PARIS.” –TIME OUT LONDON –saturday, July 17 at 4:15 and monday, July 19 at 6:30.
“Rossellini’s portrait of René Descartes was his third film set in seventeenth-century France, and is even more elliptical than the others. Rossellini leaves out many…aspects of Descartes’ life (his military service, his devout religious practices, his application of algebra to geometry), focusing instead on his deficiencies, his fear, existential terror, his indolence and self-absorption. Rossellini described Descartes as ‘a son of a bitch, a coward, a lazy person. He was quite repulsive of course, not simpatico…. But I don’t care about that. He was intelligent.’ … With his characteristic attention to quotidian detail, ever curious camera, and emphasis on the social and economic contexts for Descartes’ scientific inquiry, Rossellini produces a demanding, tough, intellectually gripping portrait of the man whose cogito ergo sum could stand as another of the director’s credos.” –James Quandt, cINEMATHEQUE ONTARIO –sunday, July 18 at 3:15 and Wednesday, July 21 at 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
BLAISE PASCAL 1972, 129 minutes, video. In French with English subtitles. With Pierre Arditi.
Rossellini was arguably the supreme maker of biographical films, creating portraits of historical figures throughout his career but devoting himself almost entirely to the genre towards the end of his life. These late “history films” are frankly pedagogical works, using an ostensibly dry, anti-dramatic style to convey the stories of their subjects’ lives without resorting to the narrative and psychological clichés of conventional biopics. And yet the result is a series of films of enormous emotional and intellectual power. BLAISE PAScAL is one of the greatest and most hypnotic of these late works. “[T]he epitome of [his] mature art…. PAScAL is the closest Rossellini came to the spiritualized minimalism of Dreyer and Bresson; it explicitly acknowledges DAY OF WRATH and AU HASARD BALTHAZAR, and it’s nearly as great as both.” –J. Hoberman –sunday, July 18 at 8:30 and Wednesday, July 21 at 6:30.
– continues on page 20 –
series – July-august
Anti-BioPics, July 14-August 1, cont’d.
20TH CENTURY: Francesco Rosi
SALVATORE GIULIANO 1961, 125 minutes, 35mm. In Italian with English subtitles.
Like EDvARD MUNcH, but even more so, Rosi’s portrait of the notorious Sicilian bandit upends biopic conventions by focusing less on its ostensible subject than on the environment, the society, and the historical conditions out of which he emerged and into which he was subsumed. One of the greatest of all post-neorealist films, SALvATORE GIULIANO is a remarkably urgent and incisive portrait of Sicilian society, with Giuliano not so much the film’s central figure but rather its structuring absence. –Friday, July 23 at 7:00 and tuesday, July 27 at 6:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
SECRET HONOR 1984, 90 minutes, 35mm. With Philip Baker Hall.
Sequestered in his home, a disgraced President Richard Milhous Nixon arms himself with a bottle of scotch and a gun to record memoirs that no one will hear, a passionate attempt to defend himself and his political legacy. Based on the original play by Donald Freed and Arnold M. Stone, made with a student crew at the University of Michigan, and starring Philip Baker Hall in a tour-de-force solo performance, SEcRET HONOR – one of the most interesting of Altman’s post-70s films – is a searing interrogation of the Nixon mystique and an audacious depiction of unchecked paranoia. “Altman’s one-man theatrical adaptation, for all its dense verbosity, is resolutely cinematic, employing a prowling camera to illuminate the dark areas of its melancholy, megalomaniac hero’s soul.” –Geoff Andrew, TIME OUT LONDON –Friday, July 23 at 9:30 and thursday, July 29 at 7:00.
FROM THE JOURNALS OF JEAN SEBERG 1995, 97 minutes, video. With Mary Beth Hurt.
“Rappaport’s film essay is an imaginary monologue in which the late actress (superbly played by Hurt) meditates on her troubled life. The real Seberg was discovered, as an Iowa teenager, by Otto Preminger…; she later starred in Godard’s BREATHLESS, became involved in radical politics, was persecuted by the FBI, and died – an apparent suicide – in 1979, at the age of forty. Rappaport’s Seberg delivers a detached, ironic running commentary on a series of clips and stills illustrating her erratic career; what’s moving about the film is that this woman is a ghost, bitterly aware that the smart ideas she’s reeling off never occurred to her during her time on earth. Seeing herself clearly for the first time, she seems to know that the image she’s looking at is still a kind of illusion: a trick of time and distance, like the cold, useless light of a dead star.” –Terence Rafferty, NEW YORKER –saturday, July 24 at 3:45 and saturday, July 31 at 9:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE SUN / SOLNTSE
EDVARD MUNCH 1974, 174 minutes, 35mm.
Watkins’s portrait of the great painter is a bona fide masterpiece, and a supreme example of a particular approach to re-thinking the biographical film. Watkins’s social and political commitment, which has manifested itself in other films (such as THE WAR GAME and PUNISHMENT PARK) in an angry and passionate stance, here takes the form of a rigorous, deeply intelligent inquiry into Munch’s era (achieved through Watkins’s accustomed faux-documentary approach). A critique-by-example of most biopics, Watkins reverses the usual relationship between figure and context, focusing on the social and political conditions in which Munch lived his life and created his work, a dimension relegated by most biographical films to the status of a more-or-less relevant “background”. Munch himself remains an elusive, somewhat remote figure. And yet despite, or perhaps because of, this elusiveness, the film’s portrait of the artist is a poetic and deeply moving one. –saturday, July 24 at 8:30, Wednesday, July 28 at 7:30, and sunday, august 1 at 5:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
2005, 115 minutes, 35mm. In English and Japanese with English subtitles.
The third in Sokurov’s series of films on world leaders (after 1999’s Hitler portrait MOLOcH, and 2001’s woefully under-seen TAURUS, a meditation on Lenin’s last days), THE SUN depicts, in Sokurov’s typically hypnotic, heightened manner, the experiences of Japanese Emperor Hirohito in the final days of WWII, as he faces the inevitable surrender of his country and the momentous decision to renounce his heretofore asserted divinity. Sokurov’s world-leader films are fraught with a fascinating tension between Sokurov’s hermetic, hallucinatory sensibility and the concrete historical meanings embodied by their protagonists, a tension that places them among the great director’s finest films.
1992, 126 minutes, 35mm. In Mandarin and cantonese with English subtitles. With Maggie cheung and Tony Leung Ka Fai.
–saturday, July 24 at 6:00, tuesday, July 27 at 9:15, and saturday, July 31 at 4:30.
CENTER STAGE / ACTRESS “Stanley Kwan’s masterpiece is still the greatest Hong Kong film I’ve seen…. The story of silent film actress Ruan Ling-yu, known as the Garbo of chinese cinema, it combines documentary with period re-creation, biopic glamour with profound curiosity, and ravishing historical clips with color simulations of the same sequences being shot – all to explore a past that seems more complex, sexy, and mysterious than the present. … Any historical movie worth its salt historicizes the present along with the past, and this movie implicitly juxtaposes our own inadequacy with those potent clips of Ling-yu herself.” –Jonathan Rosenbaum, cHIcAGO READER –sunday, July 25 at 3:30 thursday, July 29 at 9:00.
series – July-august
José Rodriguez-Soltero’s LUPE
1966, 72 minutes, 16mm. With Edie Sedgwick and Billy Name.
1969, 85 minutes, 16mm. In Russian, Georgian, and French with English subtitles.
1966, 50 minutes, 16mm. Preserved by Anthology with support from the Andy Warhol Foundation for the visual Arts. With Mario Montez, charles Ludlam, and Lola Pashalinski.
The ultimate underground biopic double-feature: a pair of essential films investigating (and transfiguring) the life and persona of Mexican Hollywood star Lupe velez, and featuring performances by two of the legends of the 60s underground. Warhol’s two-reel version, designed to be shown as either a single- or double-screen work, is a showcase for Edie Sedgwick, who interacts with Billy Name and then dines alone in an elegant apartment, drinking herself into a toilet-bowl grave. Rather than focusing on velez’s decline, Rodriguez-Soltero’s version is a sumptuous film that celebrates both velez and actor Mario Montez. Drawing on the collaboration of Theater of the Ridiculous stars Lola Pashalinski and charles Ludlam, LUPE is one of the finest films from the New York underground, offering an ecstatic explosion of color, costume, music, camp performance, and complex superimpositions. –sunday, July 25 at 6:00 and Friday, July 30 at 9:30. [rodriguez-soltero’s lupe also screens as part of the charles ludlam series on august 19.] ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
CO-PRESENTED BY CINEMA TROPICAL Paul Leduc
FRIDA / FRIDA, NATURALEZA VIVA 1986, 108 minutes, 35mm. In Spanish, Russian, French, and German with English subtitles.
“Ofelia Medina – bearing an uncanny resemblance to her subject – gives a powerful performance as the flamboyant Mexican painter, wife of the renowned muralist Diego Rivera, close friend of Leon Trotsky, and committed revolutionary. As she drifts in and out of consciousness on her deathbed, fragments of memories and dreams pass through her mind. These images – some haunting, some moving, some painful, some enchanting – gradually form a mosaic of her interior and exterior life. Every frame of this remarkable film exhibits a painterly sense of color, light, and texture.” –vANcOUvER LATIN AMERIcAN FILM FESTIvAL –sunday, July 25 at 8:30 saturday, July 31 at 7:00.
A unique film on the life of the primitive Georgian artist Niko Pirosmanashvili, who was born in 1862 and died of starvation and alcoholism in 1918. Pirosmani spent much of his life wandering from tavern to tavern, exchanging his paintings for food, drink, and shelter. Lush with static compositions and muted colors, the film is striking not only for its beautifully controlled visual style – which reflects the rich simplicity of Pirosmani’s primitive paintings – but also as a carefully subdued study of the relationship between an artist and society. –monday, July 26 at 7:00 and sunday, august 1 at 8:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
MISHIMA: A LIFE IN FOUR CHAPTERS 1985, 121 minutes, 35mm. In English and Japanese with English subtitles. With Ken Ogata.
“Schrader’s mesmerizing vision of famed Japanese novelist Yukio Mishima is a dramatic extension of the titular American Gigolo’s transformation into an elusive object of desire, with Mishima similarly re-fashioning himself, embellishing his image with militaristic, reactionary politics and a group of devoted followers. Set to a driving Philip Glass score, Schrader’s unconventional biopic interweaves Mishima’s life and work, centering on the events leading to the author’s attempted coup and 1970 suicide and structured by lush adaptations of three Mishima novels, poetic interludes that mark a furthest extreme in Schrader’s use of stylized miseen-scène.” –HARvARD FILM ARcHIvE –monday, July 26 at 9:00 and Friday, July 30 at 7:00.
ANTHOLOGY’S 2 THEATERS ARE AVAILABLE TO RENT! Prime-time dates available throughout the year. Hold your public or private screening, reading, performance, or party at Anthology Film Archives. We have the best rates in the city and the most ﬂexibility to meet your needs. Call Tim at: 212-505-5181 ext.15 at any time with inquiries.
series – august
WHITE LINE FEVER
THE TOWN THAT DREADED SUNDOWN
WilliAm lUstig Presents August 12-20
Last summer Anthology gave free rein to William Lustig – filmmaker (VIGILANTE, MANIAC, MANIAC COP) and founder of Blue Underground, the premiere DVD label devoted to marginal genre films – who marshaled his near-infinite knowledge of seventies Hollywood cinema to illuminate its hidden corners, selecting a line-up of dynamite but largely forgotten crime flicks, gangster films, and vigilante tales. That series was an embarrassment of riches, a celebration of a period that looks in retrospect like a genre-film paradise – but it was just the tip of the iceberg! Now Lustig is back to present a second dose of mayhem, featuring a focus on actors Jean-Paul Belmondo and Jan-Michael Vincent, a pair of terrifying docudramas, a couple star-studded European crime thrillers, and films by legendary directors Jack Cardiff and John Frankenheimer. This August it may be toasty outside, but at Anthology it’ll be scorching hot on-screen! Special thanks to William Lustig, Larry cohen, Jared Sapolin (Sony), Ross Klein (MGM), caitlin Robertson (20th century Fox), Brian Block (criterion Pictures USA), and Marilee Womack (Warner Bros).
– MONDO BELMONDO – Henri Verneuil
THE BURGLARS / LE CASSE 1971, 120 minutes, 35mm. With Jean-Paul Belmondo and Omar Sharif.
A 1971 classic, based on the novel by David Goodis, THE BURGLARS is a fantastic action thriller starring Jean-Paul Belmondo (fearlessly performing his own stunts) as Azad, a slick jewel thief who steals an emerald worth millions of dollars, only to find himself pursued by a corrupt police detective (Omar Sharif) far more interested in the jewel than in bringing Azad to justice. Featuring a typically brilliant score by Ennio Morricone, glamorous Greek locations, and one of the greatest of all cinematic car chases, THE BURGLARS is dynamite! –thursday, august 12 at 6:45 and monday, august 16 at 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FEAR OVER THE CITY / PEUR SUR LA VILLE 1975, 91 minutes, 35mm. With Jean-Paul Belmondo.
Belmondo was famous for doing his own stuntwork, and FEAR OvER THE cITY finds him at his most death-defying. After a woman is killed in a fall from a high-rise apartment, police inspector Belmondo receives a mysterious phone call from a man who calls himself Minos and claims to be determined to purge Paris of loose women. Realizing that he’s dealing with a dangerous maniac, the inspector embarks on a perilous hunt for the serial killer, a pursuit that finds Belmondo leaping across rooftops, crashing through windows, and hurtling through subway tunnels atop the train, all accompanied by another classic Morricone score! –thursday, august 12 at 9:30 and monday, august 16 at 7:00. 22
– JAN-MICHAEL VINCENT: WHERE HAVE YOU GONE? –
– DOCUDRAMARAMA – Larry Cohen
WHITE LINE FEVER
THE PRIVATE FILES OF J. EDGAR HOOVER
1975, 90 minutes, 35mm. With Jan-Michael vincent, Slim Pickens, L.Q. Jones, R.G. Armstrong, and Dick Miller.
1977, 112 minutes, 35mm. With Broderick crawford, Michael Parks, José Ferrer, and Rip Torn.
“[The film’s] plot revolves around carrol Jo Hummer (vincent), a serviceman returning from war with dreams of buying a big rig and marrying his sweetheart. But carrol Jo’s fledgling career as an independent owneroperator is turned upside-down when he is forced by corrupt trucking bigwigs to haul contraband. carrol Jo and his 1974 Ford WT9000 get their revenge in one of the best climaxes in trucking movie history. (The late carey Loftin, the faceless driver in DUEL, handled many of the driving stunts for the movie.) WHITE LINE… gives a glimpse into trucking before deregulation. Its gritty, rebellious storyline was well received by many working-class audiences.” –TRUcKERS NEWS
One of the giants of genre filmmaking, Larry cohen is renowned for supernatural shockers such as IT’S ALIvE, GOD TOLD ME TO, and Q. One of his lesser-known films is this notably unsupernatural – but perhaps equally horrifying – biopic of the notorious FBI chief J. Edgar Hoover, shot in an urgent docudrama style at many of the events’ actual locations. Featuring a perfectly-cast Broderick crawford in the title role, this is a gritty, unpretentious portrait of one of the most controversial, unsavory figures in the annals of American history. “cohen’s analytical biopic surprisingly resolves into a complex investigation of the forces of realpolitik and sexual politics which created an arch-villain/monster from a moralist boy-scout lawyer. The movie may have the look of tabloid sleaze, but it never trades in the simplistic put-down or facile political optimism.” –TIME OUT LONDON
–Friday, august 13 at 7:00 tuesday, august 17 at 9:15.
DEFIANCE 1980, 103 minutes, 35mm. With Jan-Michael vincent and Danny Aiello.
In this classic vigilante film, from the director of ROLLING THUNDER and THE OUTFIT, two of the biggest hits of last summer’s Lustig-selected series, Jan-Michael vincent plays Tommy, a suspended seaman waiting for his orders to ship out. Taking up temporary housing in a neighborhood terrorized by a gang, and finding the locals too afraid to fight back, Tommy decides to set an example by taking matters into his own hands. –Friday, august 13 at 9:15, sunday, august 15 at 2:15, and tuesday, august 17 at 7:00.
–saturday, august 14 at 2:15 and Friday, august 20 at 6:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Charles B. Pierce
THE TOWN THAT DREADED SUNDOWN 1977, 90 minutes, 35mm. With Ben Johnson and Bud Davis.
Based on a true story, and shot in appropriately docudrama style, this was one of the first ‘masked slasher’ films of the late-70s, pre-dating John carpenter’s HALLOWEEN by a year. Featuring legendary stuntman Bud Davis as the Phantom Killer, the film dramatizes the “Texarkana Moonlight Murders” that took place in Texarkana, Texas, in 1946, and whose perpetrator was never identified or caught. A no-frills masterpiece of dread, and all the more terrifying for its documentary trappings, it’s guaranteed to scare the pants off you. –saturday, august 14 at 4:45 and Friday, august 20 at 9:30.
series – august
MACHINE GUN MCCAIN
– LITTLE-SEEN GREAT EURO CRIME THRILLERS –
99 AND 44⁄100% DEAD
– RARE ACTION FILMS BY LEGENDARY FILMMAKERS –
1969, 120 minutes, 35mm. Archival print courtesy of 20th century Fox. With Jean Gabin, Alain Delon, and Lino ventura.
1968, 100 minutes, 35mm. With Rod Taylor and Jim Brown.
THE SICILIAN CLAN / LE CLAN DES SICILIENS A criminally under-seen caper classic, THE SIcILIAN cLAN is the only motion picture to feature the three heavyweights of French tough-guy cinema – Jean Gabin, Alain Delon, and Lino ventura. Gabin stars as a Sicilian hood orchestrating an elaborate jewel heist while stalked two steps behind by his nemesis (ventura). Between the two, Delon is a young, cop-killing grifter who escapes from jail and inadvertently places the fatalistic elements of thievery and illicit sex in play. –saturday, august 14 at 6:45 and Wednesday, august 18 at 9:00. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
MACHINE GUN MCCAIN / GLI INTOCCABILI 1969, 94 minutes, 35mm. With John cassavetes, Britt Ekland, Peter Falk, and Gena Rowlands.
This terrific film represents the unlikely intersection of John cassavetes and crew (Peter Falk, Gena Rowlands, and val Avery) with the world of Italian crime cinema. cassavetes is pitch-perfect as Mccain, a lone wolf ex-con who helps his son rip off former mob comrades Falk and Gabriele Ferzetti. On the run, Mccain brings along his girl (Britt Ekland) and enlists the help of his devoted ex-wife (Rowlands), two choices that contribute to his downfall in this violently riveting, Morricone-scored film.
THE MERCENARIES (aka DARK OF THE SUN) “Filmed in Jamaica, although set during the savage congo civil wars of the early 60s, THE MERcENARIES is an unashamed and bloody action-adventure, with Rod Taylor as a mercenary commander and the ex-football star Jim Brown supporting, as a congolese supposedly raised in the U.S. For all his studio finesse, cardiff palpably enjoyed the challenge of shooting and directing violent action, and THE MERcENARIES has acquired a considerable cult following.” –BFI –sunday, august 15 at 6:45 and thursday, august 19 at 9:30. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
99 AND 44⁄100% DEAD 1974, 98 minutes, 35mm. Archival print courtesy of 20th century Fox. With Richard Harris, Edmond O’Brien, and Ann Turkel.
One of the least known items in Frankenheimer’s filmography, this bizarro, screwball gangster-film satire stars Richard Harris as a hit man hired by an elderly mobster (O’Brien) to eliminate his rival. Set in a surreal, dystopic world populated by sewerroaming alligators and a one-armed hit man with machine-gun- and knife-laden prosthetic attachments, it’s a chase- and shoot-out-filled extravaganza that’s one of the strangest action films of the seventies. –sunday, august 15 at 9:00 and thursday, august 19 at 7:15.
–saturday, august 14 at 9:30, sunday, august 15 at 4:30, and Wednesday, august 18 at 7:00.
series – september
NUREMBERG: THE NAZIS FACING THEIR CRIMES
S21: THE KHMER ROUGE KILLING MACHINE
history, memory, triBUnAls, AnD cinemA September 17-19
On the occasion of an international symposium entitled “Making History in the Courtroom: From the Soviet Show Trials to the Khmer Rouge Trials”, to be held September 16-17 at the Cardozo School of Law in Manhattan, we are presenting special screenings of Rithy Panh’s S21: THE KHMER ROUGE KILLING MACHINE (2003), Christian Delage’s NUREMBERG: THE NAZIS FACING THEIR CRIMES (2006), and a third film to be announced. The focus of the symposium, with papers given by leading international lawyers and historians, will be on the place of the trial in the expression of memory and its impact on the writing of history. Special attention will be paid to the symbolic valence and international visibility of these trials, manifested most obviously in the filming of the procedure as well as in the use of video and film as evidence. Special thanks to christian Delage; Peter Goodrich (cardozo Law School); Sandrine Butteau & Delphine Selles-Alvarez (cultural Services of the French Embassy); Paul Marchant (First Run Features); and Marie-Soleil courcy (Delphis Films).
2006, 90 minutes, 35mm.
2003, 101 minutes, 35mm. In Khmer with English subtitles.
This film reconstructs the International Military Tribunal at Nuremberg, Germany, and incorporates rare, restored courtroom footage shot under the supervision of legendary filmmaker John Ford. The film, narrated by christopher Plummer, also includes contemporary interviews with survivors and former prosecutors. The trial marked the first time film footage played a major role in judicial proceedings. It was a groundbreaking, worldwide event – the birth of international justice and a landmark account of the holocaust. “As a historian, Delage is obsessed with the growing role of reproduced images in shaping history. In this light, the emphasis on the myriad cameras recording the trial as well as the documentaries-withindocumentaries screened in the courtroom…begins to make structural sense. At the same time, the trial is inseparable from these projected images – which, moved up on the docket to spark flagging interest in the slow-moving proceedings, shocked the courtroom, and sent figures filing out in silence once the lights came back on.” –Ronnie Scheib, vARIETY
In 1975-79, almost two million cambodians lost their lives to murder and famine when the Khmer Rouge forced the urban population into the countryside to fulfill their ideal of an agrarian utopia. The notorious detention center code-named ‘S21’ was the schoolhouse-turned-prison where 17,000 men, women, and children were tortured, interrogated, and executed, their ‘crimes’ meticulously documented to justify their execution. In this award-winning documentary and astonishing historical document, Rithy Panh and his team undertook a three-year investigation involving not only the survivors, but also their former torturers. They persuaded both groups to return to the actual site of what was formerly S21, now converted into a Genocide Museum, to face their past.
NUREMBERG: THE NAZIS FACING THEIR CRIMES
–Friday, september 17 at 7:00 and saturday, september 18 at 9:00.
S21: THE KHMER ROUGE KILLING MACHINE
–Friday, september 17 at 9:15, saturday, september 18 at 6:30, and sunday, september 19 at 6:00.
THIRD FILM TO BE ANNOUNCED –saturday, september 18 at 4:00 and sunday, september 19 at 8:30.
special screenings – July
WILLIE NELSON’S 4TH OF JULY CELEBRATION
BACK BY POPULAR DEMAND:
A Willie nelson 4th oF JUly! Yabo Yablonski
WILLIE NELSON’S 4TH OF JULY CELEBRATION 1979, ca. 100 minutes, 35mm. Special thanks to Walter Forsberg.
Last year, Anthology marked the 4th of July weekend by screening WILLIE NELSON’S 4TH OF JULY cELEBRATION, a document of one of Willie’s legendary picnics/concerts/free-for-alls. Since then, we’ve received regular inquiries, pleas, and even demands for an encore presentation. And who are we to deny our audiences their Willie Nelson 4th? So, here comes a second chance to celebrate the holiday in the company of one of the national treasures of American music. Rarely, if ever, shown in New York city prior to its screenings last year, WILLIE NELSON’S 4TH is guaranteed to transport you far from the rat-race cacophony of the metropolis, to a world of smooth country crooning and nimble-fingered guitar picking, of high times and open spaces. “Willie is [here] the smooth 1970s country crooner: hunk-ily handsome and heartbreakingly good; not yet his gentle stoner-Gramps-self of today. Those unfamiliar with Willie’s live performances will marvel at the fireworks display his chops ignite on that beat-up Spanish guitar. The film’s music is infectious, especially when Doug ‘the Ragin’ cajun’ Kershaw shows up in full Austin Powers velour and pirate-dickie, and – full of all the swirling energy of a ‘Looze-ana’ hurricane – steals the show with his brand of wild bayou fiddling. Willie’s dear compadre Waylon Jennings shows up, too, performing several hits including his Willie-homage, ‘Willie the Wandering Gypsy’. As the show climaxes with the requisite ‘everyone-on-stage’ finale, even Jennings has become pretty recreationally zonked, with his half-open eyelids giving him a devilish aura.” –Walter Forsberg –saturday, July 3 at 8:00 and sunday, July 4 at 5:30.
THE ANCIENT DOGOO GIRL
SUBWAY CINEMA/NEW YORK ASIAN FILM FESTIVAL PRESENTS
Noboru Iguchi & Yoshihiro Nishimura
the Ancient Dogoo girl /
KYÔRETSU MÔRETSU! KODAI SHÔJO DOGU-CHAN MATSURI!: SPECIAL MOVIE EDITION 2010, 115 minutes, DvD. Starring Erica Yazawa, Masataka Kubota, Takaya Kamikawa, Rina Kirishima, Tokio Emoto, Asami, Takumi Saito, and Yuya Ishikawa.
Director Noboru Iguchi is best known for his feature films MAcHINE GIRL and ROBO-GEISHA, and also for his strange but basically harmless obsession with women’s butts (especially when things like weapons come out of them). So what would happen if Iguchi were allowed to take charge of a late-night Tv series about a well-endowed, 10,000-year-old female monster fighter who is reincarnated in the modern age? Politically incorrect, gore- and violence-filled mayhem, of course! But come to our special presentation and find out for yourselves! In conjunction with Subway cinema, the people behind the deranged New York Asian Film Festival, we’re proud to present a special benefit screening of Iguchi’s condensed movie version of the television series, as a Fourth of July celebration of NYAFF and its long-time association with Anthology. Even better, Iguchi and co-director Yoshihiro Nishimura (director of TOKYO GORE POLIcE), plus actress Asami, who stars as a sort of proto-Dogu-chan in Nishimura’s section, will be present at the screening and most likely will provide audience members with an inebriated Q&A afterward. Iguchi’s birthday is June 30, so this will also serve as a party dedicated to him. Though the movie is unfortunately only available to be screened via a subtitled DvD, this promises to be an unforgettable experience. –sunday, July 4 at 6:00.
ADVENTURES OF CAPTAIN MARVEL
UnessentiAl cinemA Presents: SERIALS: FIRST THINGS FIRST
UNESSENTIAL cINEMA gladly turns over the reins for this edition to our good pal Mike Olshan, aka Movie Mike, who will introduce us to some of the wildest 30s and 40s Hollywood serials. “An assortment of first-chapters of a variety of serials. chapter One is typically designed to pull you in with a foretaste of the best bits – it establishes all the story elements, introduces the hero, the villain, and the supporting characters, and ends with a classic cliffhanger. It is always the most coherent and entertaining chapter. “Here’s your chance to see a cross-section of this rich, exciting genre of the 30s and 40s. We’ll include the opening chapters of THE PHANTOM cREEPS, ADvENTURES OF cAPTAIN MARvEL, DARKEST AFRIcA, and UNDERSEA KINGDOM!” –Movie Mike Mike Olshan is a New York-based journalist, editor, and photographer who has been archiving 16mm film for over 35 years. He was formerly editor of the film/Tv production journal MILLIMETER and of vIDEOPLAY MAGAZINE. He’s best known as the screening producer and film show host Movie Mike.
Ford Beebe & Saul A. Goodkind THE PHANTOM CREEPS (1939, ca. 20 minutes)
Serves up a turkey club with lots of ham and cheez – yum! Bela Lugosi is Doctor Zorka, who plans to rule the world or something. It’s never quite clear what he wants, but who cares when you have an invisibility belt and a silly-looking robot. The scuttling little robot spider carrying its capsule of sleeping gas defies explanation!
John English & William Witney ADVENTURES OF CAPTAIN MARVEL (1941, ca. 30 minutes)
In a hidden chamber behind an ancient tomb, young Billy Batson meets the wizard Shazam, who offers him the powers of the Greek gods in order to combat evil. A puff of smoke, and little Junior coughlin becomes massive Tom Tyler, with a cute half-cape and a lightning bolt on his chest. Lots of action, lots of fun!
B. Reeves Eason & Joseph Kane DARKEST AFRICA (1936, ca. 28 minutes) Animal trainer clyde Beatty, of circus fame, doesn’t have the build or face of an action hero, but he’s off to rescue the blonde captive from the remarkably caucasian lost city of Joba. That’s where King Solomon mined blue diamonds, dontcha know. The city is guarded by flying bat-men, dummies on a wire who land to become stuntman crash corrigan in a mask and wing suit. And we get a double dose of crash – he’s inside the gorilla suit, too!
B. Reeves Eason & Joseph Kane UNDERSEA KINGDOM (1936, ca. 30 minutes)
Handsome, muscular crash corrigan is eye candy for the ladies as he works out shirtless before donning naval togs to go down to Atlantis in the Atomic Submarine. The Lost continent – made up of left-over props from the silent BEN-HUR and NOAH’S ARK – is ruled by Monte Blue as a madman in a silly hat. He’s got cavalry and charioteers, a bomber blimp, and a high-speed armored car, plus robots armed with ray guns. Looks like they picked the prop room and costume closet clean! Total running time: ca. 110 minutes.
–thursday, July 22 at 7:30. 25
special screenings – september
ASTRONOME, A NIGHT AT THE OPERA
SPECIAL PREMIERE SCREENING!
Astronome, A night At the oPerA 2010, 63 minutes, video.
Henry Hills returns to Anthology for the premiere of his latest video, a featurelength documentation of the wonderfully unruly ASTRONOME, A NIGHT AT THE OPERA, a collaborative production by playwright/director Richard Foreman and composer John Zorn. Staged at the Ontological-Hysteric Theater in Spring 2009, ASTRONOME was, to say the least, a fast, furious flurry of syncopated movement, metaphysical mayhem, and voluminous hardcore music. Shooting with two cameras over the course of six performances, Hills has concocted an amazingly assembled, precisely framed, and altogether amusing video that most definitely stands as a work of its own. In Hills’s ASTRONOME the set, the props, the actors, and the music all meld into a singular, fantastically fluid ensemble production. For those not lucky enough to have seen the show live, you thankfully now have a lot to catch up with…. Starring: Karl Allen, Benjamin Forster, Fulya Peker, Eric Magnus, Morgan von Prelle Pecelli, James Peterson, and Deborah Wallace. Featuring music by John Zorn with Joey Baron, drums; Trevor Dunn, bass; Mike Patton, voice. Soundtrack available on Tzadik Records. With:
FAILED STATES (2008, 10 minutes, 16mm) “[It] is a study of spinning elements, rotation as gesture both mechanized and organic…but above and beyond this, [it] is remarkable because, among its other virtues, it combines multiple layers of avant-garde film history and memory. The link to the fairground, naturally, asks us to think of cinema as an ‘attraction’, a non-narrative mode that provokes the senses.” –Michael Sicinski Total running time: ca. 75 minutes.
–sunday, september 12 at 7:30.
WORK: FILMS FROM THE 2010 FLAHERTY SEMINAR FLAHERTY NYc kicks off its third season at Anthology with a program of films from the June 2010 Robert Flaherty Film Seminar, titled “WORK”. Work consumes our daily lives – as a means of survival, a badge of identity, and a lifelong source of joy or sorrow. The Seminar featured a variety of films exploring the daily rituals and larger implications of work as well as the changing nature of work and the workplace. Go to www.flahertyseminar.org to find out more information about the films to be screened in this Seminar retrospective. –monday, september 13 at 7:30.
loWell BoDger memoriAl Lowell Bodger (1944-2010) was a distinguished typographer, printer, and teacher who also produced an extraordinary body of short films that defy easy characterization. He began making 8mm films while growing up in Sheepshead Bay and moved on to 16mm production while studying at Pratt in the early 1960s. Bodger’s early works are exquisitely photographed and rooted in narrative; however he soon ventured forth into non-narrative animation, producing a number of truly remarkable, highly energetic films throughout the 1970s. During this period, he was actively involved with the Millennium Film Workshop and also screened at the collective for Living cinema among other venues. Bodger’s films are utterly entertaining, graphically complex, and almost scientific in their attention to detail, while his use of single-frame animation techniques and attention to color put him in a field all by himself. Tonight we will honor Lowell and commemorate his untimely passing with a special screening of selected short films, all of which are far too rarely seen. Works to be screened will include:
WAVE SYMMETRIES (1971, 8 minutes, 16mm) FAVORABLE CONDITIONS (1973, 18.5 minutes, 16mm) A RECENT ANIMATION (1974, 8.5 minutes, 16mm) and many others…. –thursday, september 16 at 7:30.
special screenings – september
MY NEW PICTURE
CROSSING THE LINE 2010 PRESENTS:
As part of cROSSING THE LINE 2010 (the fall festival of FIAF, the French Institute Alliance Française), we are pleased to co-present screenings of Bertrand Bonello’s film ON WAR / DE LA GUERRE at FIAF’s Florence Gould Hall on September 21, followed by screenings here at Anthology of Bonello’s film, MY NEW PIcTURE, along with the shorts cINDY, THE DOLL IS MINE and WHERE THE BOYS ARE on September 22. Bertrand Bonello (whose previous films include 2001’s THE PORNOGRAPHER, with Jean-Pierre Léaud) will be here in-person to introduce the program. Following the screening, he will take part in a special Q&A session, along with other luminaries from the film and music worlds, moderated by filmmaker and Anthology archivist Andrew Lampert. cROSSING THE LINE is FIAF’s fall festival, conceived as a platform to present vibrant new works by a diverse range of trans-disciplinary artists working in France and New York city. Initiated, conceived, and produced by the French Institute Alliance Française (FIAF) in partnership with leading New York cultural institutions, the fourth annual edition of this inter-disciplinary contemporary arts festival further develops this focus on artists who are transforming cultural practices on both sides of the Atlantic. Special thanks to Pascale cassagneau, responsable des fonds audiovisuels et nouveaux medias, and the centre national des arts plastiques/ministère de la culture, for their collaboration on this event, as well as to Bertrand Bonello and Les Films du Bélier.
CINDY, THE DOLL IS MINE 2005, 15 minutes, video. With Asia Argento; music by Blonde Redhead.
A short film inspired by a photograph by cindy Sherman. A brunette takes a photograph of a blonde and, through the two characters – both played by the great Asia Argento – Bonello creates a haunting exploration of duality and ambiguity.
WHERE THE BOYS ARE 2009, 22 minutes, 35mm.
Four young girls in an apartment dream about a hypothetical boy, while, in front of their building, the construction of the Gennevilliers mosque is completed.
MY NEW PICTURE 2007, 35 minutes, video.
MY NEW PIcTURE is a “film for the ears”, a project that musician-turned-filmmaker Bonello began as a music album and translated into other subsequent, independent forms of varying lengths and formats. First, there is the “object that is the cD” – that is, the album, which has a length of 65 minutes. But there is also this “sound film”, an image booklet, and a website. Each of these aspects, each of these atmospheres, can be experienced independently, so that the audience can imagine and create a film that only exists as a mental screening. Total running time: ca. 75 minutes.
–Wednesday, september 22 at 8:00.
WIND IN OUR HAIR
three Films By lynne sAchs FILMMAKER IN PERSON!
Anthology presents three new works by filmmaker Lynne Sachs, who will be present each evening for discussions following the screenings. “Working since the mid-1980s, variously on lyrical formal shorts and longform experimental documentary, Lynne Sachs’s body of film and video work has explored the relationships between individual memory and experience in the context of large historical forces. Foregrounding personal history and autobiography, Sachs exalts the intimate gesture as perhaps the most heroic of poetic and political acts. With a keen grasp on cultural theory and media history, Sachs’s films celebrate life and mindful political engagement, presenting complex pictures of the world with lyrical grace and even joy.” –Steve Polta, SAN FRANcIScO cINEMATHEQUE
WIND IN OUR HAIR / CON VIENTO EN EL PELO 2010, 41 minutes, video. Music by Argentine singer Juana Molina. NYc PREMIERE!
“Inspired by the writings of Julio cortázar, [this] is an experimental narrative that explores the interior and exterior worlds of four early-teenage girls in Buenos Aires, and how through play they come to discover themselves and their world. ‘Freedom takes us by the hand – it seizes the whole of our bodies’, a young narrator describes as they head towards the tracks. This is their kingdom, a place where…the girls pose as statues and perform for each other and for passengers speeding by. collaborating with Argentine filmmakers Leandro Listorti and Pablo Marin, Sachs offers us a series of magical realist vignettes…a collage of 16mm, 8mm, and video. Sachs and co-editor Sofia Gallisá have constructed a bilingual work that places equal value on the intimacy of the girls’ lives and their growing awareness of those social forces encroaching on their kingdom.” –carolyn Tennant, HALLWALLS cONTEMPORARY ARTS cENTER
THE LAST HAPPY DAY 2009, 38 minutes video.
“An experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of Sachs’s. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on a translation of WINNIE THE POOH into Latin, an eccentric task that catapulted him to brief worldwide fame. Sachs’s essay film uses personal letters, abstracted war imagery, home movies, interviews, and a children’s performance to create an intimate meditation on the destructive power of war.” –L.S.
THE TASK OF THE TRANSLATOR (2010, 10 minutes, video) Sachs pays homage to Walter Benjamin’s essay “The Task of the Translator” through three studies of the human body. Total running time: ca. 95 minutes.
–Friday and saturday, september 24 & 25 at 7:30. 27
special screenings – september / neWFilmmaKers neW yorK Women in Film AnD television In January 2010, Anthology started hosting screenings organized by New York Women in Film and Television. These screenings include works by NYWIFT members as well as from women filmmakers around the world. Films included in the series must be directed, co-directed, produced, written, edited, or shot by women. Whenever possible, the filmmakers are present for a Q&A following the screening, as well as an after-party with cash bar and complimentary food. The preeminent entertainment industry association for women in New York city, NYWIFT supports women calling the shots in film, television, and digital media. NYWIFT energizes the careers of women in entertainment by illuminating their achievements, providing training and professional development activities, and advocating for equity. Our membership comprises more than 2,000 women and men working both above and below the line. NYWIFT is part of a network of 40 Women-in-Film organizations worldwide, representing more than 10,000 members.
Screening details to be announced – please visit: www.nywift.org –tuesday, september 28 at 7:00.
neWFilmmAKers ny series The NewFilmmakers series, which selects films and videos often overlooked by traditional film festivals, began in 1998 and over the past twelve years has screened over 600 features and 2,000 short films. In 2000 we brought the Havana Film Festival to New York, and in 2002 we started NewFilmmakers Los Angeles. Many well-known films have had their initial screenings at NewFilmmakers. NewFilmmakers LA now screens monthly at the Sunset Gower Studio in Hollywood. Last year 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 NY & LA. 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 or its staff; for further information, please address questions via the telephone numbers or email listed below.
NEWFILMMAKERS NY FILM SCHOOL SERIES NewFilmmakers regularly invites leading film schools to present films and to discuss their programs with potential students. check our website for additional information about the series. This quarter we have the Digital Film Academy and animation from the california School of the Arts.
NEWFILMMAKERS NY SPECIAL PROGRAM SERIES Our Special Series give new filmmakers a chance to reach their audiences. Our NewLatino Series is now in its eighth year, and we also present Middle East NewFilmmakers, Women NewFilmmakers, and special programs curated by Third World Newsreel. We recently added a regular Animation Screening Series and a GLBT Screening Series.
SUBMIT YOUR FILM/VIDEO Screen your film/video with NewFilmmakers New York. Have your film seen by audiences and critics at one of independent film’s leading theaters. For more information and an application form write us at: NewFilmmakers, P.O. Box 4956, New York, NY 10185; or visit us at: www.NewFilmmakers.com. Films can be submitted directly on our website, or on www. Withoutabox.com. Welcome to the second annual NewFilmmakers Summer Fest 2010. During this fiveday event we will screen over fifty new films about sex, love, and everything else. The festival also finds us debuting a new Summer Shorts Series and welcoming the return of the Asian Screening Series, which had been a popular part of our regular weekly series. We hope to see you at Anthology. A ticket for the whole evening tonight and every night at NewFilmmakers is only $6.
NEWFILMMAKERS PRESENTS FILMS ABOUT NEW YORK AND THE ITALIAN GANGSTER GENRE DOcUMENTARY SERIES
HEAVEN-O: A FILM ABOUT TAXI RAY KOTTNER 2007, 90 minutes, video.
Ray Kottner drove a taxi in New York city for 60 years. Ride with Ray during the summer of 2005 and see a New York you’ve never seen before.
SHORT FILM PROGRAM James Ciccone NEIGHBORHOOD NONSENSE (2010, 12 minutes, video)
Leo Fiorca WINDOW SHOPPING: ATTACK OF THE NEW RELEASES (2009, 12 minutes, video) Mark Chaput THE REAL WISE GUYS OF LOS ANGELES (2009, 13 minutes, video)
FEATURE PRESENTATION Frank Lisi
A SICILIAN TALE 2009, 56 minutes, video.
Tells the multi-generational story of an Italian-American family who must grapple daily with the fateful decision made long ago by their ancestral patriarch to become part of his local Sicilian mafia, a decision he regretted from the moment he made it. –Friday, July 2, documentaries at 6:00, short Films at 7:45, Feature at 8:45.
neWFilmmaKers NEWFILMMAKERS PRESENTS THE SUMMER SHORTS SERIES
NEWFILMMAKERS PRESENTS ‘LAST CHANCE’
EXPERIMENTAL SHORT FILMS Tara Khalili EVEN FLOWERS WAKE UP IN THE MORNING (2009, 6 minutes, 16mm) Pamela Timmins & Peter Leitch CITY IN BALANCE
DOCUMENTARY SERIES Emily Pyle BURNED: LIFE IN AND OUT OF TEXAS YOUTH PRISONS
(2009, 16 minutes, video)
Pamela Timmins & Peter Leitch TANGO NOIR (2009, 6 minutes, video)
Ozan D. Adam ZYMOTIC – AMAUROSIS (2010, 24 minutes, video)
FIRST SHORT FILM PROGRAM Yen-Ting Cho KAPSIS (2009, 7 minutes, video) Joey Grossfield 2PM (2010, 10 minutes, 35mm) Salvatore Sorrentino BABY BLUES
(2009, 15 minutes, video)
Erykah Del Mundo SAMPALATAYA (2008, 16 minutes, 35mm)
Gaba Michael Ado SILENT WHISPER
(2010, 30 minutes, video)
SECOND SHORT FILM PROGRAM Debra Zarne AN ORDINARY WOMAN
(2006, 1 minute, video) Kim Hall UPRUSH (2008, 9 minutes, 16mm)
Sandra Koponen GONE THE WAY OF THE INDIANS (2010, 14 minutes, video)
Isold Uggadottir COMMITTED (2009, 19 minutes, 16mm) W. Alex Reeves ALONE (2008, 23 minutes, video) Michael Hamilton SETTLE (2009, 33 minutes, video) –Friday, July 2, experimental short Films at 6:00, First short Films at 7:15, second short Films at 8:45.
2009, 69 minutes, video.
Follows a year in the life of two boys committed to maximum-security youth facilities in Texas.
SHORT FILM PROGRAM Sally Grizzell Larson AXIOM (2010, 1 minute, video) Gabrielle Lansner DAD (2010, 7 minutes, video) James Arrabito WHAT’S IN ALASKA (2009, 13 minutes, video)
Roy Clovis THE CYCLE (2010, 18 minutes, video) J. J. Adler NEW MEDIA (2009, 20 minutes, video) FEATURE PRESENTATION Hightower After spending the last six months getting his life together, Nate decides he’s ready to try again with his ex-girlfriend Kim, who unbeknownst to him has moved on to another relationship. After a confrontation between the two goes awry, Nate resorts to more extreme measures to convince her that they belong together. –monday, July 5, documentaries at 6:00, short Films at 7:20, Feature at 8:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DOCUMENTARY SERIES Zack Godshall
NEWFILMMAKERS DOCUMENTARY SERIES Rossana Jeran 6 GEMINI (2007, 5 minutes, video)
2009, 82 minutes, video.
Tells the stories of five divinely inspired artist-architects and their enigmatic creations.
SHORT FILM PROGRAM Kent Hayward SUNSET TO SUNSET (2010, 2 minutes, 8mm)
Ana Cuadra WRITER’S BLOCK (2009, 13 minutes, 16mm) Jeff Robinson SLINGS AND ARROWS
(2010, 14 minutes, 16mm)
Terrence Donnellan HOLLYWOOD LOVE STORY
(2010, 18 minutes, video)
Michael Swingler MIDLIFE (2010, 22 minutes, video) FEATURE PRESENTATION Gary King
WHAT’S UP LOVELY 2010, 69 minutes, video.
In the dead of night, a recently unemployed insomniac wanders the streets of New York discovering a city beyond her wildest imagination. During one unforgettable night, she comes face-to-face with her innermost fears and desires as she tries to find her way back home. –saturday, July 3, documentaries at 6:00, short Films at 7:30, Feature at 9:00.
(2010, 25 minutes, video)
Arckii Mun Jong Kim FANTASTIC GLASS PORTRAIT (2009, 25 minutes, video)
FEATURE PRESENTATION Yuko Torihara AMATERASU (2010, 15 minutes, video) & Tatsuo Kobayashi COUNTRY GIRL 2010, 70 minutes, video.
Hayashi is a high-school boy in Kyoto who has no regard for traditional values. His routine is to con foreign tourists. Unexpectedly he falls in love with a young geisha who belongs to the traditional side of the city. –tuesday, July 6, documentaries at 6:00, short Films at 7:30, Feature at 8:45.
2010, 82 minutes, video.
NEWFILMMAKERS PRESENTS ‘WHAT’S UP LOVELY’
SHORT FILM PROGRAM Minji Kang REQUIEM FOR HERSTORY
FILMS ABOUT THE DIRTY BUSINESS OF OIL, ALONG WITH OUR SUMMER SHORTS SERIES
A documentary about a long-distance, romantic relationship between a man from New Jersey and a woman from Kobe, Japan.
BLOOD AND OIL 2008, 52 minutes, video.
Based on the work of NATION magazine defense correspondent Michael T. Klare, this film shows how concerns about oil have been at the core of American foreign policy for more than 60 years.
FIRST SHORT FILM PROGRAM Joyce P. Fields A KINDNESS (2009, 10 minutes, video) Mike Smith Rivera COLD APRIL (2010, 16 minutes, video) Matthew J. Clark DRY RAIN (2008, 23 minutes, 16mm) SECOND SHORT FILM PROGRAM Sascha Just TRIP (2010, 5 minutes, video) Christian Vogeler IT IS (2009, 8 minutes, video) Petter Ringbom MAY FLY (2009, 14 minutes, video) Ben Hur Sepehr THE DESPERATE
NEWFILMMAKERS PRESENTS ‘ROMAN’S BRIDE’ COMEDY SHORT PROGRAM Debra Zarne MENDEL’S BLACK HATS (2007, 1 minute, video)
Mattson Tomlin SOLOMON GRUNDY
(2009, 10 minutes, video)
Matt Golub SUPER SUNDAY (2009, 14 minutes, video) Matt McGregor BIKE CLUB (2009, 15 minutes, video) Jennifer Reeder SEVEN SONGS ABOUT THUNDER (2010, 20 minutes, video)
SHORT FILM PROGRAM Derek Braasch MURDER FOR PLEASURE MUSIC VIDEO 1 (2010, 4 minutes, video) Kantarama Gahigiri LEILA (2009, 2 minutes, video) Debra Zarne GOING WITH GRANDMA FOR HER PRUNES (2006, 6 minutes, video) Hans Christian Berger NO (2009, 6 minutes, video) Zev Frank CYCLE (2008, 13 minutes, video) Wei Zhang NORA’S FISH (2008, 13 minutes, 16mm) Brendan Bellomo BOHEMIBOT (2008, 26 minutes, video) FEATURE PRESENTATION Michael Paul
ROMAN’S BRIDE 2009, 84 minutes, video.
Lily Heller, a lonely woman, operates a dried-weed bouquet business nestled among the cornfields of rural Iowa. When news reaches her that her neighbor and childhood crush, Roman, has recently become single and unemployed, Lily’s mental stability falters as longburied feelings rise to the surface. –tuesday, July 6, comedy short program at 6:00, short Films at 7:15, Feature at 8:45.
(2009, 33 minutes, video)
–monday, July 5, documentaries at 6:00, First short Films at 7:15, second short Films at 8:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS WELCOMES THE RETURN OF THE ASIAN FILMMAKERS SERIES
DOCUMENTARY SERIES Jeff Giordano LONG-DISTANCE RUNNERS: A CROSS-CULTURAL LOVE STORY 2010, 69 minutes, video.
NEWFILMMAKERS END OF SUMMER FEST PROGRAM CONTAINS ADULT MATERIAL DOCUMENTARY SERIES Greg Paxton BABY (1998, 3 minutes, video) &
Deborah Staab DESPERATE FOR A LAUGH (2009, 50 minutes, video)
Follows MEAT, an all-female sketch comedy group, as they travel from New York to Los Angeles for a last shot 29
neWFilmmaKers at achieving industry recognition.
SHORT FILM PROGRAM Lori Bowen ESSENGER (2010, 5 minutes, video) William Crooks ROBOTIC PANIC (2010, 10 minutes, video) Peter Pizzi SUCKER (2008, 18 minutes, video) Matthew Silver LOVE COMES OUT OF THE BUTT (2009, 24 minutes, video)
Arthuro Cubacub B-17: A MINI-EPIC (2007, 36 minutes, video)
FEATURE PRESENTATION Zach Clark
MODERN LOVE IS AUTOMATIC 2009, 93 minutes, video.
After her new roommate Adrian moves in, Lorraine is drawn into a secret, seedy world of lonely men, cheap motel rooms, and whips and chains. Meanwhile, Adrian’s dreams of becoming a glamorous fashion model are cut short when the only employment she can find is showcasing mattresses in a strip mall. In pursuing their hidden desires and misguided dreams, both girls find their paths crossing in ways they never expected. –Wednesday, July 7, documentaries at 6:00, short Films at 7:15, Feature at 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS END OF SUMMER FEST PROGRAM IS FOR EVERYONE FILM SCHOOL PROGRAM FIVE TOWNS COLLEGE
FIRST FEATURE PRESENTATION Arnaud Collery
LITTLE KLAUS BIG WORLD
FEATURE PRESENTATION Erin David NUMBER 9 (2009, 10 minutes, video) Nathan Waire YARD RATS (2010, 15 minutes, video)
2010, 60 minutes, video.
An international documentary comedy about action star dreams, love, and worldwide adventure. Klaus Pierre is a half-German, half-French, wannabe action star who travels to Hollywood to be the next Keanu Reeves. An unfortunate event takes him back to Europe. But fate then puts Klaus on another journey through Japan, china, and India.
SECOND FEATURE PRESENTATION Richard Dailey
2010, 90 minutes, video.
Melinda is a 16-year-old born-again christian who visits her cousin Elliot and his mother in Paris for the christmas holiday and finds herself in a web of Parisian intrigue that forms around her. –Wednesday, July 14, short Films at 6:00, First Feature at 7:30, second Feature at 8:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS INTRODUCES ITS NEW ANIMATION SERIES CURATED BY ERIC LEISER Our full night of animation will include:
Janeann Dill MAH MOVING AROUND HEIDEGGER
NewFilmmakers regularly invites leading film schools to present films and to discuss their programs with potential students. check our website, www.NewFilmmakers.com, for additional information about the Five Towns Program.
(2008, 2 minutes, video)
SHORT FILM PROGRAM Steve Hosford VACANCY
(2009, 4 minutes, video) Michal Levy ONE (2007, 6 minutes, video) Eric Leiser REGENERATION (2010, 3 minutes, video) Eric Leiser MAELSTROM (2010, 2 minutes, video) Eric Leiser NELUMBO NUCIFERA (2010, 2 minutes, video)
2005, 52 minutes, video.
Ten-year-old Reid is spending the summer of 1983 far from home, stuck at a remote roadside motel with his parents. Fending off boredom is second nature to loners like him; but when a captivating girl checks in with her family, Reid suddenly finds he has more than enough on his mind.
FEATURE PRESENTATION Nathan Rose Freeman
AUTHORING ACTION 2010, 120 minutes, video.
When three children survive a bus crash that kills their parents, their childhood dies as well, until they find an unlikely partner-in-grief at the shallow grave of a longlost child. –Wednesday, July 7, Film school program at 6:00, short Films at 7:30, Feature at 8:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CELEBRATES BASTILLE DAY FRENCH SHORT FILM PROGRAM Charlotte Beaudoin Pelletier LE SEPTIÈME ÉCART (2009, 8 minutes, 16mm)
Guillaume Mazloum PEINE PERDUE (2010, 12 minutes, 8mm)
Matthieu Rumani DERNIÈRE DÉMARQUE
(2009, 14 minutes, 35mm)
Pierre Terrade CRESCENDO (2009, 14 minutes, video) Farouk Thoyer THE ART OF SUICIDE (2009, 27 minutes, 16mm)
Maureen Selwood UNTITLED (2010, 4 minutes, video) Diana Reichenbach HARMONICS (2009, 2 minutes, video) Ria Ama SNOW (2009, 2 minutes, video) Betsy Kopmar NIGHT FISHING WITH CORMORANTS
Burton Bush MEMORIES DEEP IN TIME (2008, 4 minutes, video)
Soyeon Kim TRANSPARENT MOVEMENT (2010, 2 minutes, video)
Jessica Chen TODAY’S WEATHER (2010, 3 minutes, video) Sandy Ding THE RADIO WAVE OF BLOOD BENEATH THE DIRT ICE AND FLOWERS (2009, 9 minutes, video) Eric Leiser FOREST (2008, 3 minutes, video) –Wednesday, July 21, animation series reception at 6:00, Film program at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS WELCOMES BACK THE DIGITAL FILM ACADEMY
A CHOICE OF WEAPONS 2009, 59 minutes, video.
Follows the story of San Francisco youth as they discover the threats of eviction, toxic waste, and redevelopment facing their Bayview-Hunter’s Point community. –Wednesday, July 28, documentaries at 6:00, Film school screening at 7:15, Feature at 9:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS WELCOMES THE BRITISH STRAIGHT 8 GROUP DOCUMENTARY SERIES Bob Jones UNKNOWN SOLDIER (2010, 3 minutes, video) Anna Petrus 345 SEGONS DEL MEU VIATGE A NEW YORK (2010, 8 minutes, video) Suzannah Herbert CENTRAL PARK: THE PARK AT THE CENTER OF THE WORLD (2010, 28 minutes, video) STRAIGHT 8 SCREENING SERIES Straight 8 began in 1999 when a bunch of people were invited to make a short-turnaround, no-budget, threeminute film on a single cartridge of Super-8 without editing but with a cinema audience guaranteed. Twentyfive people: directors, producers, runners, DPs, editors, writers, actors, a d.j., a cinema manager, and various others braved the challenge. It was bold and it was loose. Then it grew and great things have happened, including the films becoming a lot more polished and clever. But the experimental spirit is still very much a part of the DNA.
FEATURE PRESENTATION James Dougherty
THE PARTY BEYOND OBAMA 2009, 84 minutes, video.
Serves up a satirical inside-out look at local politics on NYc’s Lower East Side. Harry Moncrief, a black republican ward leader in the projects, has just one day to register a candidate or he is out of a job. Harry’s pleas are rejected one-by-one by his tiny band of eccentric, wacko republican members. Desperate, he ends up running a half-white, half-black albino janitor, Arnold caesar. Arnold, miraculously, is genetically linked to George Washington, George Washington carver, and Sitting Bull. –Wednesday, august 4, documentaries at 6:00, straight 8 screening at 7:00, Feature at 9:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DOCUMENTARY SERIES Lucy Martens VOICES FROM INSIDE – ISRAELIS SPEAK
NEWFILMMAKERS SCREENS FILMS ABOUT RUSSIA AND THE MIDDLE EAST
2008, 65 minutes, video.
DOCUMENTARY SERIES Yelena Demikovsky THE STORY OF FENIST
A documentary based upon interviews with 16 JewishIsraeli voices of conscience, each representing a different facet within the peace movement.
FILM SCHOOL SCREENING SERIES with The Digital Film Academy. Digital Film Academy, the premier digital film and media academy in New York, presents an evening of short films from students in the Digital Filmmaking programs and workshops. Students wrote, produced, directed, and edited their individual short films as part of their course work. See www.NewFilmmakers.com for a list of tonight’s films.
2008, 60 minutes, video.
Tells the story of the great Russian puppeteer Igor Fokin who entranced children and adults alike with his performances in Harvard Square from 1994 until his untimely death in 1996. Rich performance footage and insightful interviews with his wife, children, extended family, and friends are used to retrace Fokin’s life from his time as a Russian university theater student to his life in New England.
SHORT FILM PROGRAM Hilan Warshaw THE LABORER (2009, 6 minutes, video)
neWFilmmaKers Nicholas Avedisian-Cohen NINE SHORTS (2007, 53 minutes, video)
MIDDLE EAST FILMMAKERS PROGRAM check our website, www.NewFilmmakers.com, for more information about tonight’s feature. –Wednesday, august 11, documentaries at 6:00, short Films at 7:15, middle east Filmmakers program at 8:30. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS A FILM ABOUT THE MISSING KEY TO EINSTEIN’S UNIFIED FIELD THEORY
NEWFILMMAKERS GETS READY FOR THE NEW SCHOOL YEAR WITH FILMS ABOUT CHILDREN DOCUMENTARY SERIES Dennis Connors BREAKING BOUNDARIES: THE ART OF ALEX MASKET (2009, 18 minutes, video) Laura McLam I LOVE CHILDREN BUT…
(2009, 18 minutes, video)
SHORT FILM PROGRAM Eliza Hittman SECOND COUSINS ONCE REMOVED (2009, 11 minutes, 16mm)
Poz Lang WE COULD HAVE BEEN NINJAS
DOCUMENTARY SERIES John Philp MISHA VERSUS MOSCOW: THE BATTLE FOR GEORGIA’S FUTURE
(2009, 12 minutes, video)
2009, 61 minutes, video.
FEATURE PRESENTATION Doug Morse
Having led his country into a disastrous war with Russia, Georgian president Mikheil ‘Misha’ Saakashvili now finds himself ostracized by his western allies and facing demands at home to resign. With exclusive access to Saakashvili, his inner-circle, and his most vocal critics, the film asks whether he can regain his standing or whether the war has torpedoed any chance of peace with Russia.
SHORT FILM PROGRAM Michael Daley THE TIKI: PUNCH UP (2010, 8 minutes, video) Jesse Alson-Milkman THE LAYABOUTS
(2009, 14 minutes, 16mm)
Andrew Serban WEST SIDE GIRL (2010, 16 minutes, video) Brian Kazmarck GAME THEORY (2008, 29 minutes, video) FEATURE PRESENTATION Daniel Abella
THE FINAL EQUATION 2009, 72 minutes, 16mm.
The story of a man, Jack Smith, who turns his back on his religion after the death of his younger sister and seeks the ultimate truth in science. One evening the truth finds him when he receives a mysterious code in his computer. Jack soon realizes his ‘equation’ is a portal to a parallel universe which threatens the integrity of all existence. As the clock ticks towards Armageddon, Jack must decipher the meaning of the final equation before it’s too late. –Wednesday, august 18, documentaries at 6:00, short Films at 7:15, Feature at 8:45. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS FILMS IN ITS CONTINUING SERIES ABOUT NATIVE-AMERICANS DOCUMENTARY SERIES Nathaniel Kramer A LONG HAUL (2010, 44 minutes, video) SHORT FILM PROGRAM Amy Tall Chief KI-HI-LA STE: LIFE OF GEORGE TALL CHIEF (2008, 16 minutes, video) Adam Hirsch FAITH HEALER (2009, 26 minutes, video) FEATURE PRESENTATION Stuart Culpepper
2009, 77 minutes, video.
Five-year-old Jordan walks miles through the night in the wake of a car accident on an isolated mountain road. But when small-town Sheriff Gil Lujan finally locates the girl’s missing mother, Jordan claims the woman is an impostor. –Wednesday, september 1, documentaries at 6:00, short Films at 7:00, Feature at 8:00.
Samuel Lemberg EDDIE AND THE ALTERNATE UNIVERSE (2010, 25 minutes, video) Jared Cook THE TELLER’S TALE (2009, 17 minutes, video)
THE KINDERGARTEN SHUFFLE 2010, 98 minutes, video.
Facing the prospect of a failing local school, Julia must find a kindergarten for her son. –Wednesday, september 1, documentaries at 6:00, short Films at 7:00, Feature at 8:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS SCREENS ‘THE TRUTH ABOUT ANGELS’ WITH SIMON REX AND OTHERS ABOUT L.A. DOCUMENTARY SERIES Tony Gault FLEDGLING (2009, 7 minutes, 8mm) Katie Gregg WCF (2010, 10 minutes, video) Richard Wiebe ALIKI (2009, 5 minutes, video) SHORT FILM PROGRAM Archer King MY SISTER’S DATE (2009, 6 minutes, video) Matthew Guarneri ON A WILLIAMSBURG WHIM (2010, 9 minutes, video)
Shannon Latimer PENNY AND CHARLIE
(2010, 14 minutes, 35mm)
Stephen Paratore SANTA ANA WINDS (2009, 16 minutes, 16mm)
Thomas Moore COME HOME WITH ME (2010, 17 minutes, video)
Ari Sklar GOOD SOLDIERS (2009, 18 minutes, video) FEATURE PRESENTATION Lichelli Lazar-Lea
THE TRUTH ABOUT ANGELS
Hannah Crossley THE DAY I MET HER
(2008, 18 minutes, video)
SHORT FILM PROGRAM Skyler Carkhuff CUTTING BREAD (2010, 2 minutes, video) Josh Badham INNOMMÉ (2009, 6 minutes, video) Janet Swaby PRAYER OF THE INNOCENT (2009, 20 minutes, video)
Paul Winston SHATTERED ALLEGIANCE (2008, 29 minutes, video)
FEATURE PRESENTATION Jason Cusato
APOSTLES OF PARK SLOPE 2010, 85 minutes, video.
When Mike callahan loses his mother Mary, the neighborhood rallies the troops and takes him out to a local restaurant to cheer him up. Father Paul takes part in the hopes of convincing Mike and the gang to turn to the Lord during their time of loss. What ensues is an unlikely reunion of friends, with Father Paul coming to understand the true meaning of friendship and finding that sometimes the word of the Lord has four letters. –Wednesday, september 15, early short program at 6:00, short Films at 7:00, Feature at 8:15. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWLATINO FILMMAKERS PRESENTS ITS REGULAR PROGRAM OF FILMS ABOUT LATINO LIFE AND CULTURE NewLatino Filmmakers is the best and only independent Latino ‘cinematheque’ showcase in New York city – now in its 8th year! check www.NewFilmmakers.com for an updated schedule. –tuesday, september 21, reception at 6:00, Film program at 7:00. –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS GAY AND LESBIAN FILMS AS PART OF ITS REGULAR GLBT SERIES DOCUMENTARY SERIES John Di Stefano YOU ARE HERE (2009, 62 minutes, video) An autobiographical film that examines the search for home within our era of transnational displacement, chronicling the filmmaker’s trajectory from his ancestral home in Italy, to his native canada, to New Zealand and beyond.
SHORT FILM PROGRAM Mathan Ratinam CITIES OF PREFERENCES
2009, 79 minutes, video.
(2009, 18 minutes, video)
The film that has been called “a startling indictment of our times” and “beautifully disturbing” by audiences. It is a true L.A. story in both subject matter and production method, and stars Italian actor Antonio Del Prete, actor/ rapper Simon Rex, Monique Gabriela curnen, and model Dree Hemingway.
Pierre Stefanos BEDFELLOWS (2010, 15 minutes, video) Sandor Weiner READING IN BED (2010, 16 minutes, video) FEATURE PRESENTATION Ron Pike
–Wednesday, september 8, documentaries at 6:00, short Films at 6:30, Feature at 8:15.
Jim is a man with a secret, one that has left him mired in a world of abandoned dreams and isolation, unable to move forward into the story of his own life. When he meets claire at a coffee shop, Jim is struck by her kindness, and they begin dating. But underneath, he fears a strong connection with a woman, and retreats. Jim’s heart isn’t the only thing that’s stalled. His car has broken down, too. At the garage he meets Tom, a mechanic, a man of openness and a passion for life.
NEWFILMMAKERS PRESENTS SOME FILMS ABOUT LIFE IN NEW YORK EARLY SHORT PROGRAM Tal Shamir RUFFCUTS (2009, 1 minute, video) Anthony Marinelli SUBWAY (2010, 2 minutes, video) Joyce P. Fields A KINDNESS (2009, 10 minutes, video) Debra Cohen PEBBLE IN YOUR SHOE (2009, 10 minutes, video)
Leo Fiorca WINDOW SHOPPING: ATTACK OF THE NEW RELEASES (2009, 12 minutes, video)
FRIENDS & LOVERS 2009, 90 minutes, video.
–Wednesday, september 29, documentaries at 6:00, short Films at 7:15, Feature at 8:15. 31
July-september 2010 index ’38 – AND THAT TOO WAS VIENNA, Sept 30, p. 10
GLÜCK, WOLFGANG, Sept 30, p. 10
POLICE TAPES, THE, July 11, p. 13
80 BLOCKS FROM TIFFANY’S, July 11, p. 13
GOETHE-INSTITUT NEW YORK, Sept 9-14, p. 8
99 AND 44⁄100% DEAD, Aug 15 & 19, p. 23
GOMES, MIGUEL, Sept 3-12, p. 6
PRIVATE FILES OF J. EDGAR HOOVER, THE, Aug 14 & 20, p. 22
AIN’T GONNA EAT MY MIND, July 11, p. 13
HANDKE, PETER, Aug 21-22, p. 10
QUICK BILLY, Aug 1, p. 3
ALTMAN, ROBERT, July 23 & 29, p. 20
HEAVEN AND EARTH MAGIC, July 10, p. 2
RADAX, FERRY, July 29-30, p. 10
ANCHORAGE, THE, Sept 17-23, p. 7
HILLS, HENRY, Sept 12, p. 26
RAPPAPORT, MARK, July 24, 31, Aug 20, 22, pp. 7-8, 20
ANCIENT DOGOO GIRL, THE, July 4, p. 25
HIROHITO, EMPEROR, July 24, 27, 31, p. 20
RAYMOND, ALAN & SUSAN, July 11, p. 13
ANDREWS, NANCY, Sept 23, p. 11
RIEFENSTAHL, LENI, July 18, p. 3
ANGER, KENNETH, July 11, p. 2
HITLER: A FILM FROM GERMANY (aka OUR HITLER), Sept 11-12, p. 8
ANTI-BIOPICS, July 14-Aug 1, pp. 14, 19-21
HORN, ANDREW, Aug 21, p. 8
RODRIGUEZ-SOLTERO, JOSÉ, July 25, 30, Aug 19, pp. 7, 21
ASTRONOME, A NIGHT AT THE OPERA, Sept 12, p. 26
HUILLET, DANIÈLE, July 15 & 18, p. 19
ROSI, FRANCESCO, July 23 & 27, p. 20
AUSTRIAN CULTURAL FORUM NEW YORK, July 29-30, Aug 21-22, Sept 30, p. 10
HUMAN CONDITION, THE, Aug 7-8, p. 9
ROSSELLINI, ROBERTO, July 9, 18, 21, pp. 2, 19
ICE, Sept 2, p. 9
RUAN, LING-YU, July 25 & 29, p. 20
BACH, J.S., July 15 & 18, p. 19
IGUCHI, NOBORU, July 4, p. 25
RUSSELL, KEN, July 14 & 17, p. 14
BACK AND FORTH, July 17, p. 2
IMPOSTORS, Aug 20 & 22, pp. 7-8
BAILLIE, BRUCE, Aug 1, p. 3
ITALIAN, THE, July 29-30, p. 10
S21: THE KHMER ROUGE KILLING MACHINE, Sept 17-19, p. 24
BARBER, STEPHANIE, July 31, p. 11
JARMAN, DEREK, July 15 & 19, p. 14
BELMONDO, JEAN-PAUL, Aug 12 & 16, p. 22
KAHLO, FRIDA, July 25 & 31, p. 21
BERNHARD, THOMAS, July 29-30, p. 10
KARL MAY, Sept 10 & 13, p. 8
BLAISE PASCAL, July 18 & 21, p. 19
KOBAYASHI, MASAKI, Aug 7-8, p. 9
BODGER, LOWELL, Sept 16, p. 26
KRAMER, ROBERT, Sept 2, p. 9
BONELLO, BERTRAND, Sept 22, p. 27
KWAN, STANLEY, July 25 & 29, p. 20
BORING MASTERPIECES, July 24, Aug 7-8, Sept 2, p. 9
LEDUC, PAUL, July 25 & 31, p. 21
BRAKHAGE, STAN, Sept 2-5, 15, pp. 4-5
LEFT-HANDED WOMAN, THE, Aug 21-22, p. 10
BULL, SANDY & KC, Aug 29, p. 11
LISZTOMANIA, July 14 & 17, p. 14
BURGLARS, THE, Aug 12 & 16, p. 22
LOS SURES, July 10, p. 12
CARDIFF, JACK, Aug 15 & 19, p. 23
LUDLAM, CHARLES, July 25, 30, Aug 19-22, pp. 7-8, 21
CARTESIUS, July 18 & 21, p. 19
LUDWIG: REQUIEM FOR A VIRGIN KING, Sept 9 & 14, p. 8
CASANOVA, GIACOMO, July 17 & 19, p. 19
SACHS, LYNNE, Sept 24-25, p. 27 SALVATORE GIULIANO, July 23 & 27, p. 20 SAYAT NOVA, July 14, 17, 22, p. 14 SCHRADER, PAUL, July 26 & 30, p. 21 SCORPIO RISING, July 11, p. 2 SEBERG, JEAN, July 24 & 31, p. 20 SECRET HONOR, July 23 & 29, p. 20 SHENGELAYA, GEORGY, July 26, Aug 1, p. 21 SICILIAN CLAN, THE, Aug 14 & 18, p. 23 SMITH, HARRY, July 10, p. 2 SMITH, JACK, July 16, p. 2 SNOW, MICHAEL, July 17, p. 2 SOKUROV, ALEXANDER, July 24, 27, 31, p. 20
LUPE (RODRIGUEZ-SOLTERO), July 25, 30, Aug 19, pp. 7, 21
SORROWS OF DOLORES, THE, Aug 19-22, p. 7
LUPE (WARHOL), July 25 & 30, p. 21
STUDENT GERBER, THE, Sept 30, p. 10
LUSTIG, WILLIAM, Aug 12-20, pp. 22-23
SUBWAY CINEMA, July 4, p. 25
MACHINE GUN MCCAIN, Aug 14, 15, 18, p. 23
SUN, THE, July 24, 27, 31, p. 20
COHEN, LARRY, Aug 14 & 20, p. 22
MAN WITH A MOVIE CAMERA, Aug 14, p. 4
SYBERBERG, HANS-JÜRGEN, Sept 9-14, p. 8
COLOR OF POMEGRANATES, THE, July 14, 17, 22, p. 14
MEKAS, JONAS, July 24, Aug 7-8, Sept 2, p. 9
TEXT OF LIGHT, THE, Sept 5, p. 5
COX, ALEX, July 16 & 20, p. 19
MERCENARIES, THE (aka DARK OF THE SUN), Aug 15 & 19, p. 23
THÉRÈSE, July 16, 20, 22, p. 19
MISHIMA (YUKIO), July 26 & 30, p. 21 MUSEUM OF WAX, Aug 19-22, p. 7
TOWN THAT DREADED SUNDOWN, THE, Aug 14 & 20, p. 22
MY HUSTLER, July 25, p. 3
TRIUMPH OF THE WILL, July 18, p. 3
MY NEW PICTURE, Sept 22, p. 27
UNESSENTIAL CINEMA, July 22, p. 25
NELSON, WILLIE, July 3-4, p. 25
VALENTIN, KARL, July 23, p. 3
NEW/IMPROVED/INSTITUTIONAL/QUALITY, July 31, Aug 29, Sept 23, p. 11
VELEZ, LUPE, July 25, 30, Aug 19, pp. 7, 21
NEW YORK WOMEN IN FILM AND TELEVISION, Sept 28, p. 28
VERTOV, DZIGA, Aug 4-6, 13-15, p. 4
NEWFILMMAKERS, July 2-3, 5-7, 14, 21, 28, Aug 4, 11, 18, Sept 1, 8, 15, 21, 29, pp. 28-31
VINCENT, JAN-MICHAEL, Aug 13, 15, 17, p. 22
CASSAVETES, JOHN, Aug 14, 15, 18, p. 23 CAVALIER, ALAIN, July 16, 20, 22, p. 19 CENTER STAGE, July 25 & 29, p. 20 CHRONICLE OF ANNA MAGDALENA BACH, July 15 & 18, p. 19
CROSSING THE LINE 2010, Sept 22, p. 27 DEFIANCE, Aug 13, 15, 17, p. 22 DELAGE, CHRISTIAN, Sept 17-19, p. 24 DESCARTES, RENÉ, July 18 & 21, p. 19 DOG STAR MAN, Sept 3, p. 4 DOOMED LOVE, Aug 21, p. 8 ECCENTRICITIES OF A BLOND HAIR GIRL, Aug 6-12, p. 5 EDSTRÖM, ANDERS, Sept 17-23, p. 7 EDVARD MUNCH, July 24, 28, Aug 1, p. 20 EMPIRE, July 24, p. 9
STRAUB, JEAN-MARIE, July 15 & 18, p. 19
TORBERG, FRIEDRICH, Sept 30, p. 10
VERNEUIL, HENRI, Aug 12, 14, 16, 18, pp. 22-23 VIGO, JEAN, July 23, p. 3 WALKER (WILLIAM), July 16 & 20, p. 19
ESSENTIAL CINEMA, July 9-11, 16-18, 23, 25, Aug 1, 4-6, 13-15, Sept 2-5, 15, pp. 2-5
NISHIMURA, YOSHIHIRO, July 4, p. 25
FACE YOU DESERVE, THE, Sept 10-12, p. 6
NO DEPOSIT, NO RETURN BLUES, Aug 29, p. 11
FEAR OVER THE CITY, Aug 12 & 16, p. 22 FELLINI’S CASANOVA, July 17 & 19, p. 19
NUREMBERG: THE NAZIS FACING THEIR CRIMES, Sept 17 & 18, p. 24
FLAHERTY NYC, Sept 13, p. 26
OLIVEIRA, MANOEL DE, Aug 6-12, p. 5
WHITE LINE FEVER, Aug 13 & 17, p. 22
FLAMING CREATURES, July 16, p. 2
OLSHAN, MIKE, July 22, p. 25
FLOWERS OF ST. FRANCIS, THE, July 9, p. 2
OUR BELOVED MONTH OF AUGUST, Sept 3-11, p. 6
WILLIE NELSON’S 4TH OF JULY CELEBRATION, July 3-4, p. 25
FOREMAN, RICHARD, Sept 12, p. 26
OUTER BOROUGHS ON FILM, July 9-11, pp. 12-13
FRANKENHEIMER, JOHN, Aug 15 & 19, p. 23
PANH, RITHY, Sept 17-19, p. 24
FRIDA, July 25 & 31, p. 21
PARADJANOV, SERGEI, July 14, 17, 22, p. 14
FROM THE JOURNALS OF JEAN SEBERG, July 24 & 31, p. 20
PIROSMANI, July 26, Aug 1, p. 21
NIXON, RICHARD, July 23 & 29, p. 20
PITTSBURGH TRILOGY, THE, Sept 4, p. 4
WARHOL, ANDY, July 24-25, 30, pp. 3, 9, 21 WATKINS, PETER, July 24, 28, Aug 1, p. 20 WAVELENGTH, July 17, p. 2 WENDERS, WIM, Aug 21-22, p. 10
WIND IN OUR HAIR, Sept 24-25, p. 27 WINGS OF DESIRE, Aug 21-22, p. 10 WINTER, C.W., Sept 17-23, p. 7 WITTGENSTEIN (LUDWIG), July 15 & 19, p. 14 ZÉRO DE CONDUITE, July 23, p. 3 ZORN, JOHN, Sept 12, p. 26