(ANTI) COLONIAL TIME Wally Fall PLOWING THE STARS / FOUYÉ ZÉTWAL 2020, 14 min, DCP. In French Creole with English subtitles. Morgan Quaintance MISSING TIME 2019, 15 min, DCP Terence Dixon MEETING THE MAN: JAMES BALDWIN IN PARIS 1971, 26 min, 16mm-to-DCP Hussein Shariffe THE DISLOCATION OF AMBER 1975, 32 min, 16mm-to-DCP. In Arabic with English subtitles.

Anne-Marie Miéville AFTER THE RECONCILIATION 2000, 74 min, 35mm-to-DCP. In French with English subtitles.

Giulio Questi ARCANA 1972, 102 min, 35mm. In Italian with projected English subtitles. Print from the CSC-Cineteca Nazionale (Rome).

BLACK/QUEER TIME Marlon Riggs BLACK IS…BLACK AIN’T 1995, 87 min, 16mm-to-DCP

CINEMA TIME Mati Diop A THOUSAND SUNS / MILLE SOLEILS 2013, 45 min, 35mm-to-DCP. In Wolof with English subtitles. Onyeka Igwe A SO-CALLED ARCHIVE 2020, 20 min, DCP Ulysses Jenkins MASS OF IMAGES 1978, 4 min, DCP Maxime Jean-Baptiste NOU VOIX 2018, 14 min, DCP. In French with English subtitles. The Otolith Group MASCON: A MASSIVE CONCENTRATION OF BLACK EXPERIENTIAL ENERGY 2024, 36 min, DCP

Robert Siodmak COBRA WOMAN 1944, 72 min, 35mm. With Maria Montez. Preceded by: Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND 1967, 15 min, 16mm

CYCLE TIME Barbara McCullough WATER RITUAL #1: AN URBAN RITE OF PURIFICATION 1979, 4 min, 35mm Zeinabu irene Davis CYCLES 1989, 17 min, 16mm-to-DCP Ja’tovia Gary QUIET AS IT’S KEPT 2023, 26 min, Super-8mm-and-16mm-to-DCP Julie Dash FOUR WOMEN 1975, 7 min, 16mm-to-DCP Ayoka Chenzira SYVILLA, THEY DANCE TO HER DRUM 1979, 22 min, 16mm

Sam Feder DISCLOSURE 2020, 100 min, DCP

1926, 74 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “[A SIXTH OF THE WORLD] was commissioned by the government trade agency, Gostorg. Vertov called [it] a ‘lyrical cine-poem,’ and he used declamatory titles to address the audience in the manner of Mayakovsky or Whitman. Dramatizing the full expanse of the Soviet Union (as well as demonstrating Vertov’s fast cutting), A SIXTH OF THE WORLD proved his first popular success and attracted considerable attention abroad.” –J. Hoberman, VILLAGE VOICE

1931, 67 min, 35mm, b&w. In Russian with no subtitles; English synopsis available. ENTHUSIASM is Vertov’s vision of the transformation of social energies in a progressive society. The film is remarkable for its experimental use of sound and montage. Vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the Don Basin in this film. It is the best example of his theory of cinema which brings together “the film-eye and the radio-ear.” At one point he described the film as a “symphony of noises.”

1925-26, 73 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “FORWARD, SOVIET! was commissioned by the Moscow soviet for the 1926 elections. Structurally, the film compares prerevolutionary famine and disease with the dynamism of revolutionary life. Then after a sequence on newborn babies, Vertov’s irrepressible futurism bursts forth. Buses and cars hold a political rally without the benefit of their drivers; an extended montage celebrates industrial forms with such gusto as to make Léger’s contemporaneous BALLET MÉCANIQUE seem virtually Luddite.” –J. Hoberman, VILLAGE VOICE

by Erich von Stroheim 140 min, 1924, 35mm, b&w, silent With Gibson Gowland, ZaSu Pitts, and Jean Hersholt. “Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim’s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.” –Dave Kehr, CHICAGO READER

1925, 78 min, 16mm, b&w, silent. With Russian intertitles; English synopsis available. “KINOGLAZ is a didactic work, centered on episodes which articulate major preoccupations of the young Soviet regime: it deals with the manufacture and distribution of bread,…the processing and distribution of meat, celebrates the constructions of youth camps and discusses the problem of alcoholism. It introduces Vertov’s formal adoption of the articulation of filmmaking technique as his subject. It begins, as well, to suggest what we may understand by ‘the negative of time’ as a key ‘to the Communist decoding of reality.’ Looking for ‘the negative of time,’ we find it in the use of reverse motion as analytic strategy.” –Annette Michelson, “From Magician to Epistemologist”

1929, 104 min, 35mm, b&w, silent. No intertitles. “If Vertov had never made anything other than MAN WITH A MOVIE CAMERA he would still be among the cinema’s greatest masters. A kaleidoscopic city symphony – conjoining Moscow, Kiev, and Odessa in one dizzying metropolis – this is Vertov’s most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie-making to the logic of production. Made without titles, the movie is at once a documentary portrait of the Soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation.” –J. Hoberman, VILLAGE VOICE

by Jack Smith (1967-70, 45 min, 16mm. Restored print courtesy of the Gladstone Gallery.) “The last of Jack Smith’s 16mm features – austerely black and white, more an exercise in sensibility than craft – evolved out of his November 1967 program, Horror and Fantasy at Midnight. Like Ken Jacobs’s STAR SPANGLED TO DEATH, Horror and Fantasy at Midnight would mix original material with found footage including newsreel footage of the 1940 Republican Convention that nominated Wendell Willkie to run for president. By late March 1968, Horror and Fantasy had coalesced into Kidnapping and Auctioning of Wendell Willkie (sic) by the Love Bandit – an all black-and-white presentation starring writer Irving Rosenthal as the infant Wendell abducted by a mustachioed pirate and sold on the block of a slave market. In early January 1969, the movie had its theatrical premiere as NO PRESIDENT. For musical accompaniment Smith played records and also used the soundtracks of the found material, albeit slowed down for being projected at silent speed. The surviving version NO PRESIDENT alternates scenes shot in the Plaster Foundation with found footage – including a Lowell Thomas travelogue of Sumatra, a clip, apparently from the late 1940s, of an unidentified couple singing ‘A Sunday Kind of Love’, and newsreel footage of candidate Willkie addressing the future Farmers of America. […] Parker Tyler would hail NO PRESIDENT as ‘an even more daring exploitation of the themes in Flaming Creatures, and the Selection Committee for the newly established Anthology Film Archives voted to include both in its canon of essential cinema.” –J. Hoberman

Jack Smith SCOTCH TAPE (1962, 3 min, 16mm) A junkyard musical. FLAMING CREATURES (1963, 45 min, 16mm, b&w) “[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 Ron Rice CHUMLUM (1964, 23 min, 16mm-to-35mm. With Jack Smith, Beverly Grant, Mario Montez, Joel Markman, Frances Francine, Guy Henson, Barry Titus, Zelda Nelson, Gerard Malanga, Barbara Rubin, and Frances Stillman. Music by Angus MacLise. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.) “A hallucinatory micro-epic filmed during lulls in the production of Smith’s NORMAL LOVE and one of the great ‘heroic doses’ of ’60s underground cinema, a movie so sumptuously and serenely psychedelic it appears to have been printed entirely on gauze.” –Chuck Stephens, CINEMA SCOPE Total running time: ca. 75 min.

1928, 60 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “Vertov’s ecstatic paean to industrial development was, like Eisenstein’s OCTOBER, commissioned to celebrate the tenth anniversary of the Bolshevik revolution and was accused of the dread ‘formalism.’” –J. Hoberman, VILLAGE VOICE Preceded by: Excerpts from KINO-PRAVDA 1922, 16 min, 16mm, silent Produced from 1922-25, Vertov’s KINO-PRAVDA was an ongoing series of newsreels that ultimately comprised 23 separate “issues” (of which 22 exist today, albeit some only in fragmentary form). Taken together, they created a record of Soviet life through a mix of documentary, animation, and direct address. The reel screening here showcases excerpts from the series, with footage documenting the reconstruction of the Moscow trolley system, tanks on the labor front, and starving children, and culminating with a fascinating call for “inquiries regarding traveling film shows.”

1934, 60 min, 35mm, b&w. In Russian with no subtitles; English synopsis available. “Vertov’s ‘official’ Soviet masterpiece – a hagiographic compilation of lyrically edited stock footage and cinema’s first direct interviews – was the most successful (and compromised) movie he ever made.” –J. Hoberman, VILLAGE VOICE

John Boorman EXCALIBUR 1981, 140 min, 35mm-to-DCP

FAMILY TIME Thomas Allen Harris VINTAGE: FAMILIES OF VALUE 1995, 72 min, 16mm Preceded by: Cheryl Dunye AN UNTITLED PORTRAIT 1993, 3 min, DCP

Federico Fellini FELLINI’S CASANOVA 1976, 155 min, 35mm. In English, Italian, French, and German with English subtitles.

Paul Verhoeven FLESH + BLOOD 1985, 126 min, 35mm

Frédéric Pardo HOME MOVIE: TINA AUMONT 1968, 8.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. HOME MOVIE: ON THE SET OF PHILIPPE GARREL’S ‘LE LIT DE LA VIERGE’ / HOME MOVIE, AUTOUR DU ‘LIT DE LA VIERGE’ 1968, 39 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. GARREL, NICO, FREDERIC ET TINA, APPARTEMENT RUE DUPONT DES LOGES 1970, 16.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.

Andy Milligan GURU, THE MAD MONK 1970, 56 min, 35mm

Sam Feder HEIGHTENED SCRUTINY 2025, 85 min, DCP

Frédéric Pardo HOME MOVIE: NEW YORK 1968, 20 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. Ivan Galietti ANTI STAR TINA AUMONT 2025 (work in progress), ca. 30 min, digital. In English, French, and Italian with English subtitles.

HORNY SHORTS FOR INTELLECTUAL PERVERTS Shaped as a surreal dialog between artists Liz/Riv Rosenfeld and Lily Baldwin, ECSTASIE asks, How does ecstasy move? Can it be captured? What lives in the intersection between a true lived act, performance, and digitization? MYSOPHILIAC is the newest music video from Klovis Gaynor and the Urinal Cakes, featuring CHRISTEENE, in the filthiest therapy session on Earth. In PLENUM IM TUNTENHAUS the district administration has cut down trees and put up lights in the cruising area in Volkspark Hasenheide. The antifa faggots plan to fight back against this heterosexist attack. But is the text in their campaign poster too academic? It’s going to be a long plenum… IDEXA, 1992 traces tattooist and body play icon Idexa Stern’s metamorphosis and hook suspension experience. This work is screening for the first time in its intended form after a previous censorship. SANCTUARY explores queer spirituality and utopian sexualities through the figure of Purusha Androgyne Larkin (1934-88), a monk, pioneering gay filmmaker, and self-proclaimed cosmic-erotic mystic. Larkin’s 1981 book, “The Divine Androgyne”, challenged repression with a spiritual vision rooted in eroticism and presented a radical path to cosmic-erotic consciousness through “extreme” forms of sexual pleasure. This program is curated by Angelo Madsen for Folsom Street East, the longest running and largest kink and fetish festival on the East Coast as well as a charitable non-profit serving the LGBTQIA+ community in NYC and beyond. Lily Baldwin ECSTASIE 2025, 14 min, digital Adam Baran MYSOPHILIAC 2026, 5 min, digital Angelo Madsen IDEXA, 1992 2026, 15 min, 16mm-and-VHS-to-digital Lasse Långström PLENUM IM TUNTENHAUS 2024, 13 min, digital Sam Ashby SANCTUARY 2024, 25 min, 16mm-to-digital

JAZZ TIME Edward O. Bland THE CRY OF JAZZ 1959, 34 min, 16mm-to-35mm. Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium. Alain Gomis REWIND & PLAY 2022, 65 min, DCP. In English and French with English subtitles.

PROGRAM 1: SOUND/IMAGE (DISORIENTATION) LITTLE STABS AT HAPPINESS 1959-63, 18 min, 16mm. With Jack Smith. Preserved by Anthology Film Archives. BLONDE COBRA 1959-63, 35 min, 16mm-to-35mm blow-up. Made in collaboration with Bob Fleischner. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation. ARTIE AND MARTY ROSENBLATT’S BABY PICTURES 1963, 4 min, 8mm-to-16mm, silent. Preserved by Anthology Film Archives. Preservation Premiere! GLOBE 1969, 22 min, 16mm, Pulfrich 3D. Preserved by Anthology Film Archives through the Avant-Garde Masters Program funded by The Film Foundation and administered by the National Film Preservation Foundation.

PROGRAM 2: THE DOCTOR’S DREAM 1977, 24 min, 16mm, b&w. Preserved by SUNY Binghamton through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. DISORIENT EXPRESS 1996, 30 min, 16mm, silent GEORGETOWN LOOP 1996, 11 min, 35mm, silent

PROGRAM 3: LATE DIGITAL WORK, PART 1 Guest-programmed by Andrew Lampert. THE WHOLE SHEBANG 2019, 5 min, digital HOFFMAN STUDENT 2022, 4.5 min, digital ASPIRING TO MUSIC 2021, 7 min, digital IN FRONT OF ANTHOLOGY 2021, 2 min, digital WHEN TIMOFEEV MOVES, EVERYTHING MOVES 2022, 12.5 min, digital DIMSUM AND DRAGONS 2019, 9 min, digital UP THE ILLUSION 2023, 23 min, digital

PROGRAM 4: LATE DIGITAL WORK, PART 2 Guest-programmed by Andrew Lampert. THE LOWDOWN ON THE ETERNALISM AND ITS LIMITATION IN CONVEYING REALITY 2024, 2 min, digital BMT 2025, 2 min, digital A SPIN THROUGH NIGHT CITY 2017, 4 min, digital FROM INTRODUCTION TO ORSON WELLES’ FALSTAFF; CHIMES AT MIDNIGHT 2022, 4.5 min, digital CARTOONISH 1-10 2021, 10 min, digital EAT THE RICH: ALIGNING PERSPECTIVES AND OTHER CHALLENGES TO VIEWERS 2022, 10 min, digital FAILURE 2019, 28 min, digital

PROGRAM 5: FLO JACOBS CYCLOPEAN 3D: LIFE WITH A BEAUTIFUL WOMAN 2011, 47 min, digital, silent Preceded by: FLO ROUNDS A CORNER 1999, 6 min, digital, silent

PROGRAM 6: THE WHIRLED 1956-63 [compiled in early 1990s], 19 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. THE SKY SOCIALIST: ENVIRONS AND OUT-TAKES Filmed 1964-66/completed 2019, 47 min, 8mm-to-digital, silent. Restored by Anthology Film Archives with support from the National Endowment for the Arts.

PROGRAM 7: STEVE ANKER SELECTS: KEN JACOBS – LOST WORLDS IN DEPTH AMOROUS INTERLUDES 2007, 8 min, digital THE SURGING SEA OF HUMANITY 2006, 10.5 min, digital THINGS TO COME 2019/22, 31.5 min, digital KRYPTON IS DOOMED 2005, 34.5 min, digital

PROGRAM 8: STEVE ANKER SELECTS: LATE ETERNALISMS – NEW YORK VIEWS AND BEYOND BOOK OF ETERNALISMS 43 2025, 13 min, digital TOURISTS OF THE FAMILIAR 70 2024, 17 min, digital ABOVE THE RAIN 2019, 13 min, digital MANHATTAN IS AN ISLAND 2023, 21.5 min, digital HOBGOBLIN BALL 2023, 5.5 min, digital

PROGRAM 9: ESSENTIAL CINEMA TOM, TOM, THE PIPER’S SON 1969, 115 min, 35mm, silent. Restored by the Museum of Modern Art. Preceded by: AIRSHAFT 1967, 4 min, 16mm, silent. Preserved by Anthology Film Archives.

KINO-PRAVDA NOS. 1-6 1922, 55 min, 35mm-to-DCP. Courtesy of the Austrian Film Museum. “Between 1922 and 1925, a total of 23 issues of Dziga Vertov’s newsreel series KINO-PRAVDA (KINO-TRUTH) appeared (albeit irregularly and in very few copies). Vertov’s goal was to create a kind of ‘screen newspaper’; the title is a tribute to the newspaper Pravda founded by Lenin. Just like the KINONEDELJA (KINO-WEEK) newsreel series (1918-19), the KINO-PRAVDA issues offer a fascinating insight into the early Soviet Union and demonstrate the rapid development of Vertov’s film language. The 22 surviving issues (No. 12 is lost) have been digitized and subtitled in German and English by the Austrian Film Museum.” –AUSTRIAN FILM MUSEUM [For more info about Vertov and the KINONEDELJA and KINO-PRAVDA series, including streaming videos, visit: vertov.filmmuseum.at/en]

Philippe Garrel LES HAUTES SOLITUDES 1974, 82 min, 35mm-to-DCP. No dialogue.

CO-PRESENTED BY SNIFFIES Todd Verow BEHIND THE OPEN DOOR 2025, 93 min, DCP With the skill and precision of an Olympic athlete, content creator Corey Hudsonn meticulously conducts an all-night sexual marathon with the aim of collecting as much semen in his butt as possible. As director Todd Verow’s camera chronicles the literal ins and outs of Hudsonn’s piggy pursuits, we listen to the British bottom explain the best practices, etiquette, and psychology behind the now commonplace fetish for cumdumping. Minimalist, fly-on-the-wall and completely explicit, the latest film from NYC’s prolific gay underground auteur Todd Verow is a sequel to his notorious 2012 doc BOTTOM, which chronicled the experiences of another ravenous bareback sex enthusiast. Whereas BOTTOM’s shock value came from viewers’ awareness of the risks associated with cumdumping before PrEP and Doxycycline became standard safety tools, BEHIND THE OPEN DOOR’s subject embraces his pursuit of pleasure without qualifications. Following a much-discussed premiere at 2025’s Berlin Porn Film Festival, we’re happy to be the first to premiere the film in the U.S., with director Todd Verow in attendance to introduce the film.

NEW BODY, SAME TRASH: PROGRAM 1 In a series of languid gestures, “New Body, Same Trash: Program 1”, moves us through three encounters drawing on memory and observation – firstly with the animal world, secondly with the socio-historical world, and lastly, the ecological world. Carlos Llaó GREY AT NIGHT / SON PARDOS 2023, 30 min, DCP Pol Merchan GARDEN OF FAUNS / EL JARDÍN DE LOS FAUNOS 2022, 25 min, DCP Ohan Breiding BELLY OF A GLACIER 2024, 33 min, DCP

NEW BODY, SAME TRASH: PROGRAM 2 The films in this program are steeped in language, excess, and the relationship to the apparatus of filmmaking. Moss Berke & Biana Arnold LUMINOUS MATTER 2025, 15 min, DCP Justice Jamal Jones NOTES ON A SIREN 2022, 11 min, DCP Lasse Långström THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS 2024, 15 min, DCP Jake Brush THIS UNREMARKABLE LIFE 2025, 18 min, DCP

Jack Smith NORMAL LOVE 1963, 120 min, 16mm. With Mario Montez.

Jean-Luc Godard NOUVELLE VAGUE 1990, 90 min, 35mm. In French with English subtitles.

U.S. PREMIERE! Daniela Seggiaro OUR DEMAND / SENDA INDIA Argentina, 2023, 80 min, DCP. In Spanish and Wichí with English subtitles. In the early 1990s, as the Wichí community of northern Argentina fought for legal recognition of their ancestral territory, a young man named Miguel Ángel Lorenzo began filming what he knew best: everyday life. With a Hi8 camcorder in hand, he recorded walks through the forest, and shared routines, school gatherings, visits between neighbors, and moments when the outside world intruded – including the presence of a judge. Decades later, filmmaker Daniela Seggiaro returns to these images, assembling a film shaped by Indigenous perspectives and community memory. OUR DEMAND moves beyond the courtroom to reveal a worldview in which land is not property but a living relationship, where language, forest, and communal life are inseparable. The result is a quietly powerful testament to a struggle that is at once legal, cultural, and profoundly existential.

Bernardo Bertolucci PARTNER 1968, 112 min, 35mm-to-DCP. In Italian and French with English subtitles. Preceded by: Paola Rispoli JAKOB IL REALE E SOSIA IL VERO 1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.

PIERRE CLÉMENTI PROGRAM LA RÉVOLUTION N’EST QU’UN DÉBUT. CONTINUONS LE COMBAT 1968, 22 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française. POSITANO 1969, 28 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française.

REBEL TIME Isaac Julien YOUNG SOUL REBELS 1991, 105 min, 35mm-to-DCP

RETURNING TIME Med Hondo & Bernard Nantet BALLADE AUX SOURCES 1965, 31 min, 16mm-to-DCP. Collection Ciné-Archives. Ben Caldwell I & I: AN AFRICAN ALLEGORY 1979, 32 min, 16mm Ephraim Asili FLUID FRONTIERS 2017, 23 min, 16mm-to-DCP

STORY TIME Gaston Kaboré GOD’S GIFT / WEND KUUNI 1982, 75 min, 35mm-to-DCP. In More with English subtitles. Digitally restored by the Cinémathèque Royale de Belgique.

SURVIVING TIME Michelle Parkerson & Ada Gay Griffin A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE 1995, 90 min, 16mm-to-DCP. Co-presented by NewFest, New York’s largest presenter of LGBTQ+ film & media; for more info visit: https://newfest.org

Michael Curtiz & William Keighley THE ADVENTURES OF ROBIN HOOD 1938, 102 min, 35mm

Pier Paolo Pasolini THE CANTERBURY TALES / I RACCONTI DI CANTERBURY 1972, 122 min, 35mm. In Italian with English subtitles.

Tinto Brass THE HOWL / L’URLO 1968, 95 min, 35mm-to-DCP

Roger Corman THE MASQUE OF THE RED DEATH 1964, 89 min, 35mm

Jerry Lewis THE NUTTY PROFESSOR 1963, 107 min, 35mm

Philippe Garrel THE VIRGIN’S BED / LE LIT DE LA VIERGE 1969, 95 min, 35mm. In French with English subtitles.

Jerry Lewis THREE ON A COUCH 1966, 109 min, 35mm

Sergio Martino TORSO 1973, 90 min, 35mm-to-DCP