Robert Frank & Alfred Leslie PULL MY DAISY 1959, 28 min, 35mm Pamela Mayo (with Barbara Rubin) EMOUNA 1973, 18 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives. Nam June Paik & Shigeko Kubota ALLAN ’N’ ALLEN’S COMPLAINT 1982, 28.5 min, video

Jonas Mekas SCENES FROM ALLEN’S LAST THREE DAYS ON EARTH AS A SPIRIT 1997, 67 min, digital Preceded by: Jonas Mekas HARE KRISHNA 1966, 4 min, 16mm

INTRODUCED BY ANNE WALDMAN! Martin Scorsese ROLLING THUNDER REVUE: A BOB DYLAN STORY BY MARTIN SCORSESE 2019, 142 min, DCP

Peter Whitehead WHOLLY COMMUNION 1965, 33 min, 16mm Iain Sinclair & Robert Klinkert AH! SUNFLOWER 1967, 29 min, 16mm-to-digital

Jonas Mekas GUNS OF THE TREES 1962, 75 min, 35mm. 1962, 75 min, 35mm. Assisted by Adolfas Mekas & Sheldon Rochlin. Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folk songs by Sara & Caither Wiley and Tom Sankey. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.

FIRING LINE: THE AVANT GARDE 1968, 51 min, video. Courtesy of the Hoover Institution Archives. Richard O. Moore U.S.A. POETRY (NO. 2): ALLEN GINSBERG AND LAWRENCE FERLINGHETTI 1966, ca. 30 min, 16mm-to-digital

Costanzo Allione FRIED SHOES, COOKED DIAMONDS 1979, 55 min, 16mm-to-digital

Jerry Aronson THE LIFE AND TIMES OF ALLEN GINSBERG 1992, 84 min, 16mm

Allen Ginsberg & Steven Taylor HOUSEHOLD AFFAIRS 1988, 33 min, video Colin Still NO MORE TO SAY & NOTHING TO WEEP FOR: AN ELEGY FOR ALLEN GINSBERG 1926-1997 1997, 52 min, DCP

Gyula Gazdag A POET ON THE LOWER EAST SIDE: A DOCU-DIARY ON ALLEN GINSBERG 1997, 95 min, video Preceded by: Gus Van Sant BALLAD OF THE SKELETONS 1997, 4 min, video

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

Max Woertendyke WOMAN IN THE SKY 2025, 16 min, DCP Julio Torres PROBLEMISTA 2024, 104 min, DCP

Bruce Conner THE WHITE ROSE 1967, 7 min, 35mm Elizabeth Nichols FLYING LESSONS 2024, 84 min, DCP

Alain Resnais ALL THE WORLD’S MEMORY / TOUTE LA MÉMOIRE DU MONDE 1957, 21 min, 35mm-to-DCP. In French with English subtitles. Tanya Lukin Linklater AN AMPLIFICATION THROUGH MANY MINDS 2019, 36 min, DCP Matthew Leifheit YOUR GIORGIO 2018, 12 min, DCP

Coco Fusco TO LIVE IN JUNE WITH YOUR TONGUE HANGING OUT / VIVER IN JUNIO CON LA LENGUA AFUERA 2018, 24 min, DCP. In Spanish with English subtitles. Till Schauder & Sara Nodjoumi A REVOLUTION ON CANVAS 2023, 95 min, DCP. In English and Farsi with English subtitles.

Jean Eustache ALIX’S PICTURES / LES PHOTOS D’ALIX 1980, 15 min, 35mm-to-DCP. In French with English subtitles. Rachel Elizabeth Seed A PHOTOGRAPHIC MEMORY 2025, 85 min, DCP

kekahi wahi (Sancia Miala Shiba Nash & Drew K. Broderick) HO‘OULU HOU 2023, 17 min, DCP. In English and Hawaiʻi Creole English with English and Hawaiʻi Creole English subtitles. Miranda Yousef ART FOR EVERYBODY 2023, 99 min, DCP

Catherine Gund PAINT ME A ROAD OUT OF HERE 2024, 90 min, DCP

FILMMAKER IN PERSON! Colin Still BLACK MOUNTAIN BLUES: A FILM ON ROBERT CREELEY 2025, 94 min, digital

Giada Colagrande BOB WILSON’S LIFE & DEATH OF MARINA ABRAMOVIC 2012, 57 min, digital

FILMMAKER IN PERSON ON MAY 16! Colin Still BRAKHAGE ON BRAKHAGE 2025, 94 min, digital Filmmaker Colin Still – who has made numerous films over the years about artists, musicians, and especially poets (his films on Robert Creeley and Allen Ginsberg will be shown at Anthology in May and June, in those writers’ respective centennial film series) – met Stan Brakhage in 1996, during the filming of his Ginsberg documentary, NO MORE TO SAY & NOTHING TO WEEP FOR. The two quickly formed an affinity, and Brakhage – who was already in the midst of treatment for the cancer that would take his life seven years later – agreed to sit for an in-depth series of interviews (which extended to Still’s later trips to Colorado). The interviews resulted in more than ten hours of footage, but while some of this material was made public in an abbreviated form in the late-1990s, it’s only last year that Still fully completed the film, which has yet to be seen in the U.S. In its final form, it’s a truly invaluable document of Brakhage. Clearly recognizing a sympathetic chronicler, and most likely already sensing his impending mortality, Brakhage speaks freely, thoughtfully, and, as always, with extraordinary clarity, about everything from his childhood, cultural coming-of-age, and two marriages, to his (ongoing) development as a filmmaker and his attitudes towards his own mortality. Along the way he tells memorable and unfamiliar stories about encounters with a variety of artists, poets, and filmmakers, speaking sometimes from his home, sometimes from the local café where – clearly a fixture – he produced many of his hand-painted films while observing the life of the town around him.

25TH ANNIVERSARY REVIVAL RUN OF NEW 4K RESTORATION! FILMMAKERS IN PERSON! Harry Dodge & Silas Howard BY HOOK OR BY CROOK 2001, 98 min, DCP. With Harry Dodge, Silas Howard, Stanya Kahn, and Carina Gia. Produced by Steakhaus Productions and distributed by Altered Innocence. Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BY CROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome, gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeated after the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “life of crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces and learn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted, anti-authoritarian tale of friendship, trust, and redemption. “Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001, igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about the bars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of its time in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the story of two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the San Francisco streets. […] Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) – sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subcultural scene, Dodge and Howard were the forces behind beloved performance/gathering spot Red Dora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfit Tribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits and the marginalized – a rare film not only about, but by, lovable weirdos on the fringe.” –FRAMELINE

BEAR 1995, 40 sec, video, silent MONTAGE (WINTER 1995) 1995, 5 min, video BRICKS 1997, 4 min, video THE LIFE AND TIMES OF CHRIS JOLLY 1996, 3.5 min, Super-8mm-to-DCP AMNESIA 1998, 10 min, video ONLY 1996, 3 min, Super-8mm-to-DCP NEW YORK CITY, N.Y. 1997, 4 min, video SEEMUSIC 1997, 6 min, video THUMB MUSIC 1997, 1 min, video. Co-directed by Sara Kirkpatrick. CIRCLES & EXERCISE 1998, 1.5 min, 35mm ABSTRACT PORNOGRAPHIC FILM 2001, 12 min, 16mm-to-DCP CHRIS JOLLY’S AVALANCHE OF ANIMATION 2007, 4 min, video MULTIPLEX 2012, 3 min, 35mm

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

PROGRAM 2: BRUCE JACKSON & DIANE CHRISTIAN Bruce Jackson & Diane Christian WILLY’S READING 1982, 16 min, 16mm Bruce Jackson & Diane Christian CREELEY 1988, 59 min, 16mm Grayson Goga FOR WILL 2016, 13 min, digital

Stan Brakhage TWO: CREELEY/MCCLURE 1965, 3 min, 16mm, silent Stan Brakhage THE ACT OF SEEING WITH ONE’S OWN EYES 1971, 32 min, 16mm, silent Stan Brakhage SHORT FILMS 1975 #1-10 1975, 36.5 min, 16mm, silent

REVIVAL RUN – NEW ANTHOLOGY RESTORATION! Chris Jolly CURSE OF THE SEVEN JACKALS 2000, 55 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives. Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001. Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (Elf Power), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s. The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films! “CURSE seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, it tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert

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

MASS FOR THE DAKOTA SIOUX 1963-64, 20 min, 16mm, b&w QUIXOTE 1964-65, 45 min, 16mm “In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. […] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace.” –P. Adams Sitney, VISIONARY FILM Total running time: ca. 70 min.

CASTRO STREET 1966, 10 min, 16mm ALL MY LIFE 1966, 3 min, 16mm VALENTIN DE LAS SIERRAS 1968, 10 min, 16mm. Preserved by Anthology Film Archives. QUICK BILLY 1971, 56 min, 16mm. Brand new print! Followed by: QUICK BILLY: SIX ROLLS (Numbers 14, 41, 43, 46, 47, and 52) 1968-69, 16 min, 16mm, silent. Preserved by Anthology Film Archives.

by Orson Welles 1941, 119 min, 35mm, b&w “Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA

by Stan Brakhage 1961-64, 74 min, 16mm, silent “DOG STAR MAN elaborates in mythic, almost systematic terms, the worldview of [Brakhage’s] lyrical films. More than any other work of the American avant-garde film, it stations itself within the rhetoric of Romanticism, describing the birth of consciousness, the cycle of the seasons, man’s struggle with nature, and sexual balance in the visual evocation of a fallen titan bearing the cosmic name of the Dog Star Man.” –P. Adams Sitney, VISIONARY FILM “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

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.”

JORDAN BELSON ALLURES 1961, 9 min, 16mm RE-ENTRY 1964, 6 min, 16mm PHENOMENA 1965, 6 min, 16mm. Brand new print! SAMADHI 1967, 6 min, 16mm MOMENTUM 1968, 6 min, 16mm. Brand new print! COSMOS 1969, 5 min, 16mm. Brand new print! WORLD 1970, 6 min, 16mm MEDITATION 1971, 7 min, 16mm. Brand new print! CHAKRA 1972, 6 min, 16mm. Brand new print! “Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye.” –Gene Youngblood

“Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM “All of [Anger’s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of ‘casting a spell’ on the audience. […] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an ‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY FIREWORKS (1947, 15 min, 16mm-to-35mm, b&w. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.) RABBIT’S MOON (1950-70, 15 min, 35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.) EAUX D’ARTIFICE (1953, 13 min, 16mm) SCORPIO RISING (1963, 30 min, 16mm) KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm) Total running time: ca. 80 min.

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

Unless otherwise noted, all films are silent. DESISTFILM 1954, 7 min, 16mm, b&w, sound REFLECTIONS ON BLACK 1955, 12 min, 16mm, b&w, sound. Preserved by Anthology Film Archives. THE WONDER RING 1955, 4 min, 16mm FLESH OF MORNING 1956, 25 min, 16mm, b&w LOVING 1956, 4 min, 16mm DAYBREAK AND WHITEYE 1957, 8 min, 16mm WINDOW WATER BABY MOVING 1959, 12 min, 16mm. Preserved by Anthology Film Archives. Films made during Brakhage’s early, “psychodramatic” period, including two of his early experiments with sound. Total running time: ca. 75 min.

Unless otherwise noted, all films are silent. CAT’S CRADLE 1959, 6 min, 16mm SIRIUS REMEMBERED 1959, 12 min, 16mm MOTHLIGHT 1963, 4 min, 16mm. Preserved by Anthology Film Archives. BLUE MOSES 1963, 11 min, 16mm, sound PASHT 1965, 5 min, 16mm FIRE OF WATERS 1965, 10 min, 16mm, sound THE HORSEMAN, THE WOMAN AND THE MOTH 1968, 19 min, 16mm

All films are silent. THE WEIR-FALCON SAGA 1970, 29 min, 16mm SEXUAL MEDITATION #1: MOTEL 1970, 7 min, 16mm. Preserved by Anthology Film Archives. THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm SEXUAL MEDITATION: ROOM WITH A VIEW 1971, 4 min, 16mm. Preserved by Anthology Film Archives. THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm

All films are silent. MY MOUNTAIN: SONG 27 1968, 25 min, 8mm-to-16mm MY MOUNTAIN: SONG 27: PART 2: RIVERS 1969, 33 min, 8mm-to-16mm SONGS 28-29 1966/86, 21 min, 8mm-to-16mm “MY MOUNTAIN: SONG 27: A study of Arapahoe Peak in all the seasons of two years’ photography…the clouds and weathers that shape its place in landscape – much of the photography a-frame-at-a-time. SONG 27: PART 2: RIVERS: A series of eight films intended to echo the themes of MY MOUNTAIN: SONG 27. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage Total running time: ca. 85 min.

by Stan Brakhage 1964-65, ca. 53 min, 8mm-to-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.” –Stan Brakhage

by Stan Brakhage 1961-65, 261 min, 16mm, silent “Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage

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.”

Preserved by Anthology Film Archives. EYES (1970, 36 min, 16mm, silent) “After wishing for years to be given the opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –Stan Brakhage DEUS EX (1971, 34 min, 16mm, silent) “I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –Stan Brakhage THE ACT OF SEEING WITH ONE’S OWN EYES (1971, 32 min, 16mm, silent) “Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton Total running time: ca. 105 min.

by Stan Brakhage 1974, 67 min, 16mm, silent. Preserved by Anthology Film Archives. “All that is, is light.” –Johannes Scotus Erigena “[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM

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

Karl Valentin CONFIRMATION DAY / DER FIRMLING 1934, 23 min, 35mm. In German with no subtitles; English synopsis available. “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 A PROPOS DE NICE 1929-30, 30 min, 16mm, silent TARIS 1931, 9 min, 16mm & ZERO FOR CONDUCT / ZÉRO DE CONDUITE 1935, 44 min, 16mm. In French with English subtitles. An eloquent parable of freedom versus authority, Vigo’s film is set at a boys’ boarding school and undoubtedly echoes Vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945. Total running time: ca. 110 min.

Andy Warhol EAT 1963, 35 min, 16mm, b&w, silent “A portrait of artist Robert Indiana, EAT is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell James Sibley Watson & Melville Webber FALL OF THE HOUSE OF USHER 1928, 13 min, 16mm, b&w, silent “Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller John & James Whitney FILM EXERCISES 1-5 1943-45, 18 min, 16mm “The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz James Whitney LAPIS 1963-66, 10 min, 16mm “The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney Total running time: ca. 80 min.

Mark Obenhaus EINSTEIN ON THE BEACH: THE CHANGING IMAGE OF OPERA 1984, 58 min, 16mm. Courtesy of the New York Public Library.

FILMMAKER IN PERSON! Kathryn Ramey EL SIGNO VACÍO / THE EMPTY SIGN 2023, 75 min, 35mm. In English and Spanish with English subtitles. EL SIGNO VACÍO is a feature-length anthropological journey through the U.S.’s occupation of Puerto Rico. Mixing over a hundred years of found footage – tourism, agricultural, and propaganda films – with contemporary portraits of local artists and activists and Puerto Rican punk rock/noise music, the film reveals how carefully crafted American fictions of “democracy” and “debt” obscure a capitalist and military domination that is ongoing. Moving between old and new, Spanish and English, and between paradise and environmental destruction, EL SIGNO VACÍO becomes a “re-educational” film challenging the viewer to (re)think about modern colonization, its mechanisms and its responsibilities. “In 2014 while researching U.S. immigration practices, I discovered a border patrol in Aguadilla PR with my last name. The base was named for a man who was not Puerto Rican and never even visited the islands, yet the name ‘Ramey’ is everywhere in the northwest part of the country. I became a traveler in a place where everyone knew my name. I wanted to give back to the people who were helping me research and so I offered a 16mm filmmaking and hand-processing workshop at Beta-Local in San Juan. One workshop led to another, engaging me directly with the interests of the artists who had become my friends and interlocutors for the project. Because the past is only past for people who have the luxury of forgetting, the film connects historic fiscal, agricultural, military, and tourist activity with the present-day invasion of ‘crypto-bros,’ opportunistic settlers, and cynical and corrupt politicians and policies.” –Kathryn Ramey

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

Robert Bresson FOUR NIGHTS OF A DREAMER 1971, 82 min, 35mm-to-DCP

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.

Franco Laera HAMLET: A MONOLOGUE 1997-2000, 95 min, digital

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

James Sibley Watson Jr. & Melville Webber FALL OF THE HOUSE OF USHER 1928, 13 min, 16mm James Sibley Watson Jr. & Melville Webber LOT IN SODOM 1933, 28 min, 35mm. Courtesy of the George Eastman Museum, museum accession. James Sibley Watson Jr. IT NEVER HAPPENED [aka TOMATO IS ANOTHER DAY, TOMATO’S ANOTHER DAY] 1934, 7 min, 35mm. Courtesy of the George Eastman Museum, museum accession.

NASS RIVER INDIANS 1927-28, 18 min, 35mm, silent. Photographed by James Sibley Watson Jr. Courtesy of Library and Archives Canada. James Sibley Watson Jr. & Melville Webber THE EYES OF SCIENCE 1930, 12 min, 35mm. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum, preserved with funds from the National Film Preservation Foundation and Chace Productions, Inc. Kenneth R. Edwards HIGHLIGHTS AND SHADOWS 1938, 54 min, 35mm. Produced and shot by James Sibley Watson Jr. Commissioned by Kodak. Courtesy of the George Eastman Museum, preserved with funds from the National Endowment for the Arts.

James Sibley Watson Jr. STUDIES IN DIAGNOSTIC CINEFLUOROGRAPHY 1947-55, 6 min, 35mm-to-DCP. Courtesy of the George Eastman Museum, preserved with funds from the Los Angeles Film Foundation with a grant from the Getty Foundation. Followed by: Barbara Hammer DR. WATSON’S X-RAYS 1991, 22 min, 16mm-to-DCP Barbara Hammer SANCTUS 1990, 19 min, 16mm

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 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.

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

Norman Mailer MAIDSTONE 1970, 110 min, 35mm. With Norman Mailer, Rip Torn, and Beverly Bentley.

U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON! Ben Rivers MARE’S NEST 2025, 98 min, Super-16mm-to-DCP. In English and Catalan with English subtitles. A Grasshopper Film release. “A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL “Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-act play ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF

MILLENNIUM FILM JOURNAL NO. 83 LAUNCH SCREENING “In 2025 we endured the tragic loss of a pair of artists, who in life were united in love: Florence Jacobs, in June, and in October, Ken Jacobs. Together they were the prime movers behind our organization, putting sweat, ingenuity, and vision behind a utopian idea that we all might be able to share the tools, knowledge, space, and resources required for filmmaking, and forge an alternative community of cinema opposed to the practices of capitalism and industry.” –Joe Wakeman, Exec Director, Millennium Film Workshop This screening – programmed by Grahame Weinbren, Vince Warne, and the MFJ editors – celebrates the launch of Millennium Film Journal No. 83. The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit: https://millenniumfilmjournal.com/donations/donation-form/ Ken Jacobs NISSAN ARIANA WINDOW 1968, 15 min, 16mm, silent Sarah Ballard FULL OUT 2025, 14 min, 16mm-to-digital Karthik Pandian ANOKA 2025, 12 min, 16mm-to-digital Oscar Ruiz Navia TIGERS CAN BE SEEN IN THE RAIN 2025, 15 min, 16mm-to-digital @welcometo_blue SELECTED WORKS 2025, 5 min, digital Chiara Caterina OBJECT D’ENIGME 2026, 18 min, digital

U.S. PREMIERE RUN! FILMMAKERS IN PERSON! Tim Geraghty & Sarah Halpern MONUMENT 2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh. This singular new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region. MONUMENT is very much in the tradition of the landscape film, and of the subset of the genre in which filmmakers draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the solemnity and over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to earlier eras of social strife, labor politics, and colonial exploitation, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. “MONUMENT weaves statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today.” –Tim Geraghty & Sarah Halpern

U.S. PREMIERE RUN! FILMMAKERS IN PERSON! Tim Geraghty & Sarah Halpern MONUMENT 2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh. This singular new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region. MONUMENT is very much in the tradition of the landscape film, and of the subset of the genre in which filmmakers draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the solemnity and over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to earlier eras of social strife, labor politics, and colonial exploitation, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. “MONUMENT weaves statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today.” –Tim Geraghty & Sarah Halpern

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.

U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON! Borjana Ventzislavova NEW NEWS FROM ANOTHER HOME 2024, 87 min, DCP. In Bulgarian with English subtitles. “NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgänger narrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings. “NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK

1976, 89 min, 16mm-to-DCP. English version. “Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa 1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION

Barbara Hammer NITRATE KISSES 1992, 67 min, 16mm-to-DCP

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

Overture for KA MOUNTAIN AND GUARDenia TERRACE: A STORY ABOUT A FAMILY AND SOME PEOPLE CHANGING 1972, 80 min, 16mm, silent. Filmmaker Unknown. Preserved by Anthology Film Archives and the New York Public Library.

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.

Ron Mann POETRY IN MOTION 1982, 90 min, 16mm-to-DCP. With Charles Bukowski, Amiri Baraka, Anne Waldman, Kenward Elmslie, Helen Adam, Ted Berrigan, Ed Sanders, Tom Waits, William S. Burroughs, John Cage, Robert Creeley, Four Horsemen, Michael Ondaatje, Christopher Dewdney, John Giorno, Jayne Cortez, Ntozake Shange, Gary Snyder, Jim Carroll, Michael McClure, Diane di Prima, Allen Ginsberg, Miguel Algarin, and Ted Milton.

Tobe Hooper POLTERGEIST 1982, 114 min, 35mm Preceded by: Segundo de Chomón THE RED SPECTRE / EL ESPECTRO ROJO 1907, 10 min, 35mm-to-16mm, silent eteam OUR NON-UNDERSTANDING OF EVERYTHING 12 2022, 11.5 min, digital

LAS ESTATUAS TAMBIÉN MUEREN – LA CLAVE nibia pastrana santiago LOS PRESIDENTES PISAN, O CONMEMORANDO LO INVISIBLE, O QUIERO SER UNA ICONOCLASTA SEXY / THE PRESIDENTS STEP ON, OR COMMEMORATING THE INVISIBLE, OR I WANT TO BE A SEXY ICONOCLAST 2014, 10 min, digital José Rodríguez Soltero JEROVI 1965, 11.5 min, 16mm, silent Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND 1967, 15 min, 16mm Tony Cruz Pabón LA LLAVE / LA CLAVE 2018, 11 min, digital DeeDee Halleck BRONX BAPTISM 1982, 30 min, 16mm-to-digital Charles Atlas FROM AN ISLAND SUMMER 1983-84, 13 min, 16mm-to-digital

MYTHOPOESIS – COWBOY AND INDIANS Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM 1958, 2 min, 16mm-to-digital Jaime Barrios FILM CLUB 1968, 26 min, 16mm Edén Bastida Kullick MONTE CARMELO 2018, 3 min, 16mm-to-digital Sofía Gallisá Muriente UN MONTÓN DE SILENCIOS / A BUNDLE OF SILENCES 2025, 24 min, digital Beatriz Santiago Muñoz ONEIROMANCER 2017, 26 min, digital Poli Marichal LOS ESPEJISMOS DE MANDRÁGORA LUNA / MANDRÁGORA LUNA’S PHANTOMS 1987, 13 min, Super-8mm-to-digital

PRESENTED BY RAYMOND FOYE: JORDAN BELSON RARITIES As a complement to our Jordan Belson Essential Cinema program (on Wed, June 3), curator Raymond Foye will present a selection of Belson rarities, featuring films, VHS, audio recordings, and visuals. Foye has worked with Belson, and later his widow Catherine Heinrich, since 2001. As director of the estate, he is presently organizing a fourth solo exhibition of Belson’s visual art, opening at the Matthew Marks Gallery in Los Angeles in June 2026. Here at Anthology, we will be screening new prints of LIGHT (1973) and INFINITY (1979) (works not included in our EC program), plus the rarely screened AUTOBIOGRAPHY (1953), which features appearances by Christopher Maclaine, Harry Smith, Philip Lamantia, and others. We will examine works from the Belson archives, including notebooks and kinetic sculptures, as well as excerpts from Belson’s personal VHS worktapes, which are currently being preserved by the Pacific Film Archive.

Lightly Heeled (Kioto Aoki, 2024, 3min, 16mm) + Brumaire (Vincent Guilbert, 2026, 14min) + Phototropes (Blanca García, James Devine, 2026, 3min, Super 8mm) + Nude Descending (Dianna Barrie, Richard Tuohy, 2026, 10min, 16mm) + Stitch the Ruin(Željka Blakšić, 2024, 8min, 16mm) + Flowers for an Old Shrine (Long Pham, 2025, 6min, 16mm) + Goodnight, My Dear (Vanij Choksi, 2026, 6min) + Rojo Zalia Blau (Viktoria Schmid, 2025, 11min) + La Durete De Mental (Charles-Andre Coderre, 2025, 20 min, 35mm) + Q&A

Levers (Rhayne Vermette, 20min, Poetry Reading) + Surrendur (Karthik Pandian, 2026, 87min); Co-presented by Triple Canopy + Q&A

Concealed and Denied (Jordan Lord, 2026, 35min) + The Glass Booth (Jenny Brady, 2026, 33min) + Q&A

Anomalies in a Landscape (Félix Caraballo, 2025, 8min, 16mm) + In the Manner of Smoke (Armand Yervant Tufenkian, 2025, 91min) + Q&A

before everything has a name (An-li dīng, 2026, 17min) + Masayume (Nao Yoshigai, 2026, 110min)

sitrep (Blair Barnes, 2026, 20min) + Computer Chess (Andrew Bujalski, 2013, 92min) + Q&A

My Friends in My Address Book (Kohei Ando, 1974, 3min, 16mm) + Every Contact Leaves a Trace (Lynne Sachs, 2025, 83min) + Q&A

WORLD ENTERPRISES (Anthony Banua-Simon, 2026, 14min) + Aanikoobijigan (Adam Khalil, Zack Khalil, 2026, 80min) + Q&A

Tamago Stories One (Kioto Aoki, 2026, 3min, 16mm) + Ceiling (Hu Didi, 2026, 8min, 16mm) + Testament (Mike Stoltz, 2026, 6min, 16mm) + Artificial Horizons Test (Mike Stoltz, 2026, 6min, 16mm) + Xtended Release (Joshua Gen Solondz, 2026, 15min, 16mm) + Chang Gyeong (Lee Jangwook, 2025, 18min, 16mm) + Night Swing (TT Takemoto, 2min, 2026, 16mm) + Tooborac (Richard Tuohy, Dianna Barrie, 2026, 9min, 16mm) + Q&A

Crunch (Invisible Scissors, 15min, Live Music) + Archura Leaves the City Forever (Yusuf Demirors, 2026, 12min) + To Summon a Seer (Alan Medina, 2026, 8min) + 逆立ち逆立ち : If pinholes were right side up, I would be doing handstands (Kioto Aoki, 2024, 3min, 16mm) + Landscape in the afternoon (Lee Jangwook, 2026, 14min, 16mm) + Mounds Above the Earth (Jiayi Chen, 2025, 5min, 16mm) + It Must Be Because I Decided to Leave (Zhouyun Chen, 2026, 19 min) + Q&A

Rotating Signals (Chae Yu, 2025, 10min) + Goblin Play (2025, 47min) + Q&A

An Afternoon with a Gnawa (Meena Nanji, 2026, 12min) + Àwọ̀ ojú ọ̀run (The Colour of the Sky) (Judah Iyunade, 2026, 71min)

We deh here (Maybelle Peters, 2025, 7min) + Joy Boy: A Tribute to Julius Eastman (Collective Faire-Part, 2026, 64min)

Perfect Image? (Maureen Blackwood, 1989, 30min) + La ronde de vodou (Elsie Haas, 1989, 52min) + Q&A

Another Birth (Isabelle Kalander, 2025, 70min) + Q&A

Chronovisor (Kevin Walker, Jack Auen, 2026, 99min) + Q&A

The Land Lies Heavy: The Contemporary Chinese Avant-Garde; Co-presented by Tone Glow; Article 4 (Hsin-Yu Chen, 2026, 4min) + Branches From Concrete (Zhou Zhenyu, 2026, 14min) + Words Fly Back to the Black Earth (Xiao Zhang, 2026, 19min) + Redland Hooves (Kaiwen Ren, 2026, 27min)

Ground Glass Award 2026: Star Waars (Kohei Ando, 1978, 3min, 16mm) + Like a Passing Train 1 (Kohei Ando, 1978, 3min, 16mm) + Like a Passing Train 2 (Kohei Ando, 1979, 7min, 16mm) + Oh! My Mother (Kohei Ando, 1969, 10min) + The Sons (Kohei Ando, 1973, 25min, 16mm) + On the Far Side of Twilight (Kohei Ando, 1994, 39min, 35mm) + Q&A

An Evening of Film and Poetry Guest Curated by Shiv Kotecha and Courtney Stephens (Ft. Ed Steck, Joanne Kyger, charles theonia, Lily Jue Sheng, Stom Sogo, Benjamin Krusling, Theresa Hak Kyung Cha)

Atash, Aisha, Teyh: Three Films by Parine Jaddo; Co-presented by Arte East: Atash (Thirst) (Parine Jaddo, 1995, 14min) + Aisha (Surviving) (Parine Jaddo, 1999, 32min) + Tayh (Astray) (Parine Jaddo, 2002, 21min) + Q&A

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

Howard Brookner ROBERT WILSON AND THE CIVIL WARS 1987, 90 min, 16mm-to-DCP

Pauline de Grunne ROBERT WILSON IN SITU 2017, 90 min, digital

“VIDEO IS VENGEANCE OF VAGINA”: A SELECTION OF WOMEN’S FILM & VIDEO PROGRAMMED BY SHIGEKO KUBOTA Janice Tanaka BEAVER VALLEY 1980, 7 min, video Janice Tanaka MUTE 1981, 2.5 min, video Lynda Benglis FEMALE SENSIBILITY 1973, 13 min, video Dara Birnbaum KISS THE GIRLS: MAKE THEM CRY 1979, 7 min, video Susan Milano & Ann Volkes DIFFERENT STROKES FOR DIFFERENT FOLKS 1978, 18 min, video Amy Greenfield DIRT 1971, 3 min, 16mm-to-digital Amy Greenfield TRANSPORT 1971, 5.5 min, 16mm-to-digital Shirley Clarke THE TEE PEE VIDEO SPACE TROUPE: THE FIRST YEARS 1970-71, 16 min, video

“TOKYO-NEW YORK VIDEO EXPRESS”: VIDEOTAPE EXCHANGE BETWEEN U.S. AND JAPAN Toshio Matsumoto MONA LISA 1973, 3 min, 16mm-to-digital Idemitsu Mako WHAT A WOMAN MADE 1973, 11 min, video Hakudo Kobayashi LAPSE COMMUNICATION 1972-80, 16 min, video Steina & Woody Vasulka GOLDEN VOYAGE 1973, 14 min, video. Courtesy of BERG Contemporary and the Vasulka Foundation. Shigeko Kubota VIDEO GIRLS AND VIDEO SONGS FOR NAVAJO SKY 1973, 26 min, video

VIDEO AS “TWO-WAY COMMUNICATION”: KUBOTA’S COLLABORATION WITH THE NEW YORK EXPERIMENTAL FILM & VIDEO COMMUNITY Shigeko Kubota CURATOR DIARY 1974, 11.5 min, video. Courtesy of Shigeko Kubota Video Art Foundation. Shigeko Kubota SoHo SoAp/RAIN DAMAGE 1985, 8 min, video Shigeko Kubota GEORGE MACIUNAS WITH TWO EYES 1972, GEORGE MACIUNAS WITH ONE EYE 1976 1994, 7 min, video Shigeko Kubota MY FATHER 1973-75, 15.5 min, video Shigeko Kubota SEXUAL HEALING 1998, 4 min, video

Robert Wilson STATIONS 1982, 56 min, video Robert Wilson LA FEMME À LA CAFETIÈRE 1989, 7 min, video Robert Wilson LA MORT DE MOLIÈRE 1995, 24 min, video

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.

Ulli Lommel TENDERNESS OF THE WOLVES / DIE ZÄRTLICHKEIT DER WÖLFE 1973, 82 min, 35mm-to-DCP. In German with English subtitles. Everyone knows Fritz, that weird man who lives down the street, has a thing for young guys. If he meets a teen he likes, he might invite them back to his place, with an offer of money or sex. No one ever questions what happens to those young men, why they’re never seen again, or where Fritz sources the fresh meat he sells to the local businesses. The story of Fritz Haarmann, Germany’s most notorious serial killer, is brought to life in this lurid 1973 period drama, a collaborative effort of members of director Rainer Werner Fassbinder’s coterie. Actor Kurt Raab is chilling and brilliant as Fritz, in a script he wrote for Fassbinder to direct. Fassbinder instead chose to produce and act in the film alongside company regulars Margit Carstensen, Brigitte Mira, Ingrid Caven, and El Hedi ben Salem. Uli Lommel, star of early Fassbinder titles like WHITY and BEWARE OF A HOLY WHORE, was nominated for the Golden Bear for his feature directing debut, which brought him into Andy Warhol’s inner circle and kicked off a long career in low-budget horror cinema. While the film’s depictions of sex and violence are unquestionably disturbing, the film’s indictment of capitalism as a root cause of Haarmann’s bloodshed is even more so, placing Lommel’s film in direct communication with Fassbinder’s classic melodrama FOX AND HIS FRIENDS, shown last year at Narrow Rooms.

Theo Janssen & Ralph Quinke THE BLACK RIDER 1990, 120 min, digital

Ronald Neame THE CHALK GARDEN 1964, 106 min, 35mm-to-DCP. With Deborah Kerr, Hayley Mills, and John Mills.

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

Marion Kessel THE MAKING OF A MONOLOGUE: ROBERT WILSON’S HAMLET 1995, 62 min, digital

U.S. PREMIERE! Tatiana Fuentes Sadowski THE MEMORY OF BUTTERFLIES / LA MEMORIA DE LAS MARIPOSAS Peru/Portugal, 2025, 77 min, DCP. In Spanish and Murui Huitoto with English subtitles. This film begins with a single archival image of two Indigenous men, Omarino and Aredomi, taken from the Amazon to Europe during the rubber boom – and unfolds into a haunting, deeply personal exploration of history, memory, and colonial violence. Blending archival materials with hand-processed imagery and contemporary encounters, the powerful and evocative debut feature by Tatiana Fuentes Sadowski moves between past and present to question official narratives and recover voices long erased. At once an act of investigation and a cinematic invocation, it opens a space where the living and the dead remain in dialogue. Preceded by: Tatiana Fuentes Sadowski LA HUELLA France, 2012, 18 min, DCP Using a photographic archive and forensic testimony, the film explores the lasting traces of Peru’s civil war. Guest programmed by Andrea Avidad.

NYC THEATRICAL PREMIERE RUN! 35MM PRINT! James N. Kienitz Wilkins THE MISCONCEIVED 2026, 88 min, 35mm. Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant. James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play. His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of THE PLAGIARISTS and Norman Mailer’s MAIDSTONE, which is evoked in the new film. “THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins

U.S. PREMIERE! Vinícius Couto & Gustavo Vinagre THE PASSION ACCORDING TO G.H.B. / A PAIXÃO SEGUNDO G.H.B. 2026, 82 min, DCP. In Portuguese with English subtitles. It’s raining in São Paulo and Matias and a stranger are about to spend the afternoon getting high and having sex. But when Matias cuts up the stash, neither credit card, powder, or straw are visible on screen. As the drugs kick in and the chemsex begins, we watch as afternoon stretches into evening, with more tricks invited over, more invisible substances consumed, more visible tongues and penises entering orifices, and conversations between the men about their substance use, Covid-isolation, HIV, PrEP, and Clarice Lispector’s beloved 1964 novel “The Passion According to G.H.” Narrow Rooms is honored to present the U.S. premiere of this thrilling and intense collaboration between acclaimed queer Brazilian director Gustavo Vinagre (UNLEARNING TO SLEEP) and artist/director Vinicius Couto, who drew on his own experiences to bring the role of Matias to the screen. Featuring a cast of non-actors also drawing on their own experiences, this improvised experimental “magical realist gay bedroom odyssey” looks at the experience of chemsex in a fresh way, preserving its characters’ humanity and refusing to inflict punishment for “bad” behavior. Though potentially triggering to viewers with substance abuse history or folks upset at seeing sex onscreen, the impact of Vinagre and Couto’s emotional film is sure to stay in your systems long after the credits roll.

2019, 76 min, DCP. Distributed by KimStim.

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

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

George Méliès THE APPARITION, OR MR. JONES’ COMICAL EXPERIENCE WITH A GHOST / LE REVENANT 1903, 2.5 min, 35mm-to-16mm Deborah Stratman …THESE BLAZEING STARRS! 2011, 14 min, 16mm Guy Maddin NIGHT MAYOR 2009, 14 min, DCP Rebecca Baron DETOUR DE FORCE 2014, 29 min, DCP Plus: special surprises!

George Kuchar CATTLE MUTILATIONS 1983, 25 min, 16mm Craig Baldwin TRIBULATION 99: ALIEN ANOMALIES UNDER AMERICA 1991, 48 min, 16mm

Peggy Ahwesh THE THIRD BODY 2007, 8.5 min, video Mark L. Lester FIRESTARTER 1984, 114 min, 35mm

Jules White THE GHOST TALKS 1949, 16.5 min, 35mm. With The Three Stooges. Jesse McLean MAGIC FOR BEGINNERS 2010, 20 min, video THE AMAZING WORLD OF KRESKIN 1972, 36 min, 16mm

Michal Goldman UMM KULTHUM: A VOICE LIKE EGYPT 1996, 67 min, 16mm-to-DCP. In English and Arabic with English subtitles.

Juanjo Pereira UNDER THE FLAGS, THE SUN / BAJO LAS BANDERAS, EL SOL Paraguay/Argentina/USA/France/Germany, 2025, 92 min, DCP. In Guarani, Spanish, German, French, English, and Portuguese with English subtitles. In 1989, the fall of Alfredo Stroessner’s 35-year dictatorship in Paraguay brought an end to one of the world’s longest authoritarian regimes – and left behind a vast audiovisual archive once used to shape national identity and glorify power. Decades later, newly recovered footage from Paraguay and abroad – newsreels, television broadcasts, propaganda films, and declassified materials – reveals the hidden machinery of the regime. Moving across formats and histories, this striking debut feature by Juanjo Pereira becomes an excavation of memory and media, exposing how images were used to construct ideology, sustain international alliances, and normalize repression, while reflecting on a present still marked by the legacy of dictatorship.

PROGRAM 3: USA: POETRY Richard O. Moore USA: POETRY: ROBERT CREELEY 1966, 29 min, 16mm-to-DCP USA: POETRY: ROBERT DUNCAN & JOHN WIENERS 1966, 29 min, 16mm-to-DCP

Robert Wilson VIDEO 50 1978, 52 min, video Robert Wilson DEAFMAN GLANCE 1981, 27 min, video

Peter Miller PROJECTOR OBSCURA 2005, 10 min, 35mm Lewis Alquist FRAME 1991, 3 min, 16mm Inger Lise Hansen ADRIFT 2004, 9 min, 16mm-to-35mm Viktoria Schmid A PROPOSAL TO PROJECT IN SCOPE 2020, 8 min, 35mm Viktoria Schmid ROJO ŽALIA BLAU 2025, 10 min, 35mm Eva Claus TO BE A DAY 2025, 8 min, 16mm Dwinell Grant COLOR SEQUENCE 1943, 3 min, 16mm, silent Viktoria Schmid A TAMA FOR EKTACHROME 2016, 1 min, Super-8mm-to-DCP Arthur & Corinne Cantrill ISLAND FUSE 1971, 11 min, 16mm Viktoria Schmid ACHTUNG / HALLO 35 2010, 2 min, 35mm Viktoria Schmid GOLAN 2012, 2 min, 16mm Lisa Truttmann & Elizabeth M. Webb TABULA RASA 2015, 7.5 min, DCP Anouk De Clercq BLACK 2015, 6 min, 35mm, silent

Morgan Fisher SCREENING ROOM 1968/2026 (Anthology Film Archives version), 5 min, digital-to-16mm, silent Viktoria Schmid W O W (KODAK) 2018, 2 min, 35mm-to-DCP Louis Lumière & Auguste Lumière DEMOLITION OF A WALL / DÉMOLITION D’UN MUR 1895, 1.5 min, 16mm. Print courtesy of the Austrian Film Museum. Alice Guy Blaché PIERRETTE’S ESCAPADES / LES FREDAINES DE PIERRETTE 1900, 2 min, 35mm. Restored print courtesy of the Filmoteca de Catalunya. Viktoria Schmid IT’S A DANCE 2014, 2.5 min, DCP Lillian Schwartz & Ken Knowlton UFOS 1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford. Viktoria Schmid NYC RGB 2023, 7 min, 16mm Sasha Pirker THE FACE – STOREFRONT FOR ART & ARCHITECTURE 2011, 4 min, digital Viktoria Schmid A PROPOSAL TO PROJECT IN 4:3 2016, 2 min, 16mm Germaine Dulac ÉTUDE CINÉGRAPHIQUE SUR UNE ARABESQUE 1929, 9 min, 35mm Eva Giolo FLOWERS BLOOMING IN OUR THROATS 2020, 9 min, 16mm-to-DCP Friedl vom Gröller PARENTS (FATHER/MOTHER) / ELTERN (MUTTER/VATER) 1997-99, 5 min, 35mm Viktoria Schmid KATHARINAVIKTORIA 2011, 1 min, 16mm-to-DCP Viktoria Schmid KATHARINAVIKTORIA 2(021) 2022, 1 min, 16mm Thom Anderson MELTING 1965, 6 min, 16mm Viktoria Schmid FOODFILMS 2010, 8 min, 16mm Ernst Schmidt Jr. SAALLICHT 1974, 30 sec, 16mm

Michael Lucio Sternbach CONSECRATION: CHARLES GAYLE 2024, 25 min, digital Michael Lucio Sternbach ECHO: DAVE BURRELL 2019, 25 min, digital Laura Sofía Pérez FLOWERS GROW IN MY ROOM: WILLIAM PARKER 2024, 19 min, digital Michael Lucio Sternbach BRINGING ON THE HALLELUJAH: KIDD JORDAN 2020, 32 min, digital

Michael Lucio Sternbach ASHIMBA: A PORTRAIT OF COOPER-MOORE 2017, 16 min, digital Michael Lucio Sternbach REFLECTIONS: AMINA CLAUDINE MYERS 2021, 20 min, digital Michael Lucio Sternbach THE MYSTERY OF THE GARDENER’S GROOVE 2017, 20 min, digital Michael Lucio Sternbach 30 YEARS OF VISION 2026, 30 min, digital

Stefan Kurt WATERMILL 1993 1993, 20 min, digital Tomek Jeziorski WATERMILL CENTER BYRD HOFFMAN SUMMER PROGRAM 2009 2010, 38 min, digital