Lloyd Kaufman #SHAKESPEARE’S SHITSTORM 2020, 94 min, DCP

This screening – presented on the occasion of the Robert Blackburn Printmaking Workshop’s exhibition “Asilah Oui: Robert Blackburn in Morocco” – pairs two films that explore the links between Morocco and New York: Shalom Gorewitz’s MELEHI (1984) and Hisham Aïdi’s A THOUSAND AND ONE BERBER NIGHTS (2023), which together examine two pioneers of Moroccan art in the twentieth century. Commissioned as part of his 1984 solo exhibition at the Bronx Museum, MELEHI documents the work and life of renowned Moroccan painter and Asilah Cultural Moussem founder Mohamed Melehi through his projects as a teacher, painter, and modernist. A THOUSAND AND ONE BERBER NIGHTS delves into the transatlantic career of dancer, actor, and choreographer Hassan Ouakrim. “Asilah Oui: Robert Blackburn in Morocco” at the Blackburn Study Center, September 15-December 12, 2026, focuses on the first decade of the Asilah Cultural Moussem. Established in 1978, this international festival brought together printmakers, musicians, intellectuals, and poets from around the globe to create, as founders Mohamed Benaissa and Mohamad Melehi described it, “a permanent center for cultural diffusion, rich in authenticity and steeped in heritage.” The exhibition illuminates how Robert Blackburn’s Printmaking Workshop served as a conduit in connecting the Moussem’s international artists. This screening is organized by the Robert Blackburn Printmaking Workshop, and co-presented with the Bronx Museum. For more info about the exhibition, visit: https://www.rbpmw-efanyc.org/asilah-oui

Roland Legiardi-Laura AZUL 1988, 104 min, DCP Preceded by: Richard Levine AFTER BASHŌ 2026, 8 min, DCP

Mathieu Amalric BARBARA 2017, 98 min, DCP. In French with English subtitles. With Jeanne Balibar, Mathieu Amalric, Vincent Peirani, Aurore Clement, and Grégoire Colin.

This program compiles 18 short films shot on Super-8mm by West German experimental film makers between 1978 and 1984, and featuring music by Malaria, Reflections, Einstürzende Neubauten, Frieder Butzmann, Die Tödliche Doris, and others.

To celebrate the publication of the English translation of writer Rim Battal’s autobiographical novel I’ll Look Myself in the Eyes, Anthology presents a special screening of MUSTANG (2015), by Turkish filmmaker Deniz Gamze Ergüven, a film that’s closely tied thematically to Battal’s text. In I’ll Look Myself in the Eyes 17-year-old Rim is caught smoking out her window in her home in Marrakesh, Morocco. This minor transgression unleashes the fury of her mother, who demands that Rim complete a gynecological test certifying her virginity. So begins a nuanced journey into the tangled web of a patriarchal society in which various generations of women seem to complicitly preserve the status quo. Ultimately, it is Rim who breaks the cycle of dysfunction, rebels against tradition, confronts betrayal from the women closest to her, and dares to be her true self. MUSTANG, co-written by Alice Winocour, similarly explores the internalized psychological and moral impact of the patriarchy, through the story of five orphaned sisters growing up with their grandmother and uncle. When, on their way home from school, they play an innocent game with a group of boys on the beach, their grandmother flies into a rage, accusing them of having “pleasured themselves” and forbidding them from leaving the house. Things quickly escalate with the threat of arranged marriages. As in Rim’s novel, we see how far families can go wrong in their perceived mission of protecting the purity of their girls. The screening will be followed by a bilingual reading from the novel by author Rim Battal and her translator Liza Tripp, along with a discussion and audience Q&A. For more info about I’ll Look Myself in the Eyes, visit: https://www.galiotpress.com/authors/rim-battal

Wolfgang Büld BORED TEENAGERS / BRENNENDE LANGEWEILE 1979, 85 min, 16mm-to-DCP. In German with English subtitles.

Ronald K. Armstrong BUGGED! 1997, 82 min, 35mm-to-DCP

Helke Misselwitz BULKY TRASH / SPERRMÜLL 1990, 72 min, 35mm-to-DCP. In German with English subtitles. Preceded by: Petra Tschörtner THE FREE ORCHESTRA / DAS FREIE ORCHESTER 1988, 17 min, 35mm-to-DCP. In German with English subtitles.

Trey Parker CANNIBAL! THE MUSICAL 1993, 97 min, 35mm-to-DCP

This special screening is presented in conjunction with “Theresa Hak Kyung Cha: Multiple Offerings”, a retrospective on view at Artists Space through November 21. The program features cinematic works by artists and filmmakers represented in “Apparatus, Cinematographic Apparatus: Selected Writing”, a seminal volume edited by Theresa Hak Kyung Cha (1951-82) and published in the 1980s by Tanam Press, an independent, artist-led publishing entity. Alongside these films will be a few examples of Cha’s work from the mid-1970s, including her notable structuralist piece PERMUTATIONS, a 1976 work composed of six shots filmed at one-second intervals that examines what the artist calls, “Film Time and Film Space.” Cha was deeply influenced by both canonical and contemporary films from around the world, and by cinema theory, and actively explored the distinctions between the film, its author, and the spectator. Among the filmmakers whose work illuminates these concerns is Dziga Vertov, whose 1929 film MAN WITH A MOVIE CAMERA offers a radical exploration of cinematic perception and the possibilities of the medium, using dynamic editing, multiple exposures, split screens, and self-reflexive images of the camera and filmmaking process. Jean-Marie Straub and Danièle Huillet’s 1977 film EVERY REVOLUTION IS A THROW OF THE DICE brings together Stéphane Mallarmé’s poem “A Throw of the Dice Will Never Abolish Chance” with a collective recitation staged at Père-Lachaise Cemetery, beside the wall where the last defenders of the Paris Commune were executed in 1871. The film’s interweaving of literary text, historical memory, and the material conditions of its own performance resonates with Cha’s sustained interest in the relationship between language, image, and the conditions of viewing. Taken together, the program brings into view the formal, literary, and cinematic correspondences that run through Cha’s work. Co-presented by Anthology Film Archives and Artists Space, with an introduction by a special guest. For more info about the Artists Space exhibition visit: https://artistsspace.org/exhibitions/theresa-hak-kyung-cha-multiple-offerings Dziga Vertov MAN WITH A MOVIE CAMERA / CHELOVEK S KINO-APPARATOM 1929, 90 min, 35mm, silent. With no intertitles. Preceded by: Theresa Hak Kyung Cha PERMUTATIONS 1976, 10 min, 16mm Theresa Hak Kyung Cha TRANSLATIONS FROM A WILLOW TREE 1976, 4 min, Super-8mm-to-DCP Jean-Marie Straub & Danièle Huillet EVERY REVOLUTION IS A THROW OF THE DICE / TOUTE RÉVOLUTION EST UN COUP DE DÉS 1977, 11 min, 35mm

Gérard Courant CINÉMATON 1978-2026, 80 min selection (15 films), Super-8mm-or-video-to-digital

Gérard Courant CINÉMATON 1978-2026, 80 min selection (15 films), Super-8mm-or-video-to-digital

Lloyd Kaufman CITIZEN TOXIE: THE TOXIC AVENGER IV 2000, 108 min, 35mm-to-DCP

Richard W. Haines, Michael Herz, and Lloyd Kaufman CLASS OF NUKE ‘EM HIGH 1986, 82 min, 35mm

Jerry Tartaglia HAMLET IN THE RENTED WORLD (A FRAGMENT) 1970-73, 27 min, 16mm-to-DCP Robert Siodmak COBRA WOMAN 1944, 72 min, 35mm. With Maria Montez.

For Day With(out) Art 2026, Visual AIDS presents seeds in a dying colony, a program of four newly commissioned videos that move through the afterlives of colonialism and the ongoing HIV epidemic. Across fractured histories and landscapes marked by extraction, the works trace how systems of power shape the body, memory, and experiences of care. The title draws from the work of psychiatrist and political philosopher Frantz Fanon, whose writings on colonial violence and the racialized psyche have been taken up by some AIDS historians and theorists to understand how global health systems, formed through colonial rule, ultimately determine the order, quality, and conditions under which people receive healthcare, while also overwriting indigenous knowledge of healthy, embodied living. Rather than isolating HIV as a singular issue, seeds in a dying colony gestures toward the tension between systems of domination that appear enduring and the latent power and ancestral knowledge that remains in their undoing. Edgar Hudson THERE IS AN ELEPHANT IN THE ROOM 2026, 9.5 min, digital Bruna Kury & Matheus Mello TRAVESTY REVENGE / VENGANZA TRAVESTY 2026, 7.5 min, digital Sido Lansari ON A BRIGHT DAY / C’ÉTAIT UN JOUR LUMINEUX 2026, 19 min, digital Micaela Cyrino HOW TO PROJECT YOUR VOICE WITHOUT CAUSING AN EARTHQUAKE 2026, 16 min, digital

James Bond III DEF BY TEMPTATION 1990, 95 min, 35mm-to-DCP

COLLECTED FILM AND VIDEO WORKS 1976-84 PRESENTED BY FILM RESTORATIONIST PETER CONHEIM Formed in the wreckage of the Kent State shootings in 1973, where co-founders Gerald V. Casale and Mark Mothersbaugh were students during the massacre, and still blowing the horn five decades later, Akron’s DEVO would take their subversive pop-art to staggering mainstream success. All the while, they considered themselves to be filmmakers as much as they were a “band.” From their first film onward (1976’s THE BEGINNING WAS THE END: THE TRUTH ABOUT DE-EVOLUTION), they fused their love of Dadaist image-making with their constantly shapeshifting music, confounding their record label by plowing their meager promo budgets into companion films for songs. This program unveils painstaking new restorations and reconstructions of much of this pivotal work (including SATISFACTION, FREEDOM OF CHOICE, WHIP IT, and much more) alongside a host of rarely (and never)-seen live footage, encounters with hapless interviewers, and other spud ephemera, curated specially for Anthology Film Archives by film archivist and musician Peter Conheim (Mono Pause, ex-Negativland, Wet Gate, et al).

PROGRAM 1: NATHANIEL DORSKY CARACOLE (FOR IZCALI) 2023, 17.5 min, 16mm, silent NAOS 2022, 12 min, 16mm, silent DREAMS REVEAL A WEIGHTLESS WORLD 2016/24, 20 min, 16mm, silent

CARELESS PASSAGE 2024, 20 min, 16mm, silent WORDS OF MERCURY 2011, 25 min, 16mm, silent NEW SHORES 1971-87/2014, 35 min, 16mm, silent

ELOHIM 2017, 31 min, 16mm, silent ABATON 2017, 19 min, 16mm, silent CODA 2017, 16 min, 16mm, silent ODE 2017, 20 min, 16mm, silent SEPTEMBER 2017, 20 min, 16mm, silent MONODY 2017, 16 min, 16mm, silent EPILOGUE 2017, 15 min, 16mm, silent

Ludwig Schönherr FACE I UND II 1966-68, 8.5 min, 16mm-to-DCP, silent Kurt Kren 28/73 TIME EXPOSURE(S) / 28/73 ZEITAUFNAHME(N) 1973, 3 min, 16mm, silent Robert Huot FACE OF FACES 1976, 5 min, 16mm-to-digital, silent Ernst Schmidt Jr. THE MERRY WIDOW 1977, 1 min, 16mm Ernst Schmidt Jr. 12 UHR MITTAGS – HIGH NOON 1977, 4 min, 16mm Tehching Hsieh TIME CLOCK PIECE (ONE YEAR PERFORMANCE 1980-1981) 1980-81, 7 min, 16mm, silent Paige Taul IT MAKES ME WANNA 2017, 2.5 min, 16mm-to-DCP Paige Taul AFTER DECARAVA 2018, 1.5 min, 16mm-to-DCP Viktoria Schmid KATHARINAVIKTORIA 2011, 1 min, 16mm-to-DCP Viktoria Schmid KATHARINAVIKTORIA 2(021) 2022, 1 min, 16mm Peter Kubelka PAUSE! 1977, 12 min, 16mm Ernst Schmidt Jr. COLLECTED BY WENDY / GESAMMELT VON WENDY 1979, 2 min, 16mm

(BRONENOSETS POTEMKIN) by Sergei Eisenstein (1925, 74 min, 35mm, silent. With English intertitles.) “POTEMKIN used [Eisenstein’s] new set of rules to create what has been called the most perfect and concise example of film structure. Like STRIKE, [POTEMKIN] has no hero, only the masses, and no plot, only an incident plucked from the pre-history of the Revolution.” –Standish Lawder, EISENSTEIN AND CONSTRUCTIVISM “POTEMKIN was the first work to embody, in their most tangible form, various principles of construction peculiar to the medium: montage (or editing) and parallel action (the expansion of time through spatial manipulation); or, in sum, the purely formal deployment of objective action to create psychological dimensions. Eisenstein was not the first ‘film artist,’ but he was the first to be so pure, the first to use photography like painting in movement, photography like verbal imagery. As set down in his writings, his own theories inform us of this. Yet POTEMKIN must be seen to be believed.” –Parker Tyler

Viking Eggeling SYMPHONIE DIAGONALE (1924, 8 min, 35mm) “This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS Dwinell Grant COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent) “An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant STOP MOTION TESTS (1942, 3 min, 16mm, silent) A pixillated self-portrait of the filmmaker in his studio. COLOR SEQUENCE (1943, 3 min, 16mm, silent) “Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz Ken Jacobs & Bob Fleischner BLONDE COBRA (1959-63, 35 min, 16mm-to-35mm. With Jack Smith.) Preserved by Anthology Film Archives with support from The Film Foundation. “BLONDE COBRA is an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs Total running time: ca. 60 min.

REVERBERATION 1969, 23 min, 16mm SERENE VELOCITY 1970, 23 min, 16mm, silent STILL 1971, 54 min, 16mm. Preserved by Anthology Film Archives.

Georges Franju BLOOD OF THE BEASTS / LE SANG DES BÊTES (1949, 20 min, 16mm. In French with English subtitles. Archival print courtesy of the Harvard Film Archive.) “This documentary on the slaughterhouses of Paris is one of the great masterpieces of the subversive cinema; here, for once, we are face to face with death, and are neither protected nor cheated. […] A dream-like quality permeates the intense realism of the images; a surrealist intent – akin to Buñuel’s slitting of the eyeball in UN CHIEN ANDALOU – is discernible in this anti-bourgeois film. But the eyeball, however shocking, was fictional; BLOOD OF THE BEASTS is real.” –Amos Vogel, FILM AS A SUBVERSIVE ART Jean Genet UN CHANT D’AMOUR (1950, 26 min, 16mm, silent) “Genet’s only film – hounded by the censors, unavailable, secret – is an early and remarkably moving attempt to portray homosexual passions. Already a classic, it succeeds as perhaps no other film to intimate the explosive power of frustrated sex…. Like all Genet’s early work, the entire film is, in effect, a single onanistic fantasy, filled with desperate frustration and sensuous nostalgia.” –Amos Vogel, FILM AS A SUBVERSIVE ART “There’s no smoke without fire; UN CHANT D’AMOUR is a communion in which Genet takes us into the prison in order to liberate us from it.” –Derek Jarman Total running time: ca. 50 min.

ZORNS LEMMA (1970, 60 min, 16mm. Preserved by Anthology Film Archives.) “A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don’t understand it the first time you see it, don’t despair, see it again! When you finally ‘get it,’ a small light, possibly a candle, will light itself inside your forehead.” –Ernie Gehr & HAPAX LEGOMENA I: (nostalgia) (1971, 36 min, 16mm. Preserved by Anthology Film Archives.) “In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton’s films.” –P. Adams Sitney Total running time: ca. 100 min.

Ian Hugo BELLS OF ATLANTIS (1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.) A film poem, based on Anaïs Nin’s HOUSE OF INCEST, narrated by and featuring Nin. “[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin Ken Jacobs LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith. Preserved by Anthology Film Archives.) “Material was cut in as it came out of the camera, embarrassing moments intact. 100’ rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.” –Ken Jacobs Helen Levitt, Janice Loeb, and James Agee IN THE STREET (1952, 12 min, 16mm. Preserved by Anthology Film Archives.) Levitt’s short, lyrical documentary portrait of life in Spanish Harlem, shot by Levitt, Janice Loeb, and James Agee. “Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA Willard Maas GEOGRAPHY OF THE BODY (1943, 7 min, 16mm. Preserved by Anthology Film Archives with support from The National Film Preservation Foundation.) “The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas Total running time: ca. 55 min.

by D.W. Griffith (1916, 170 min, 35mm, silent) Griffith’s immensely influential silent epic intercuts four parallel tales from history (spanning Babylon, Christ’s Judea, Reformation Europe, and turn-of-the-century America) to embroider a moral tapestry on personal, social, and political repression through the ages. The visual poetry is overwhelming, especially in the massed crowd scenes, and the unbridled eroticism of the Babylon harem scenes demonstrates just what Hollywood lost when it later bowed to the Hays Code. While the (partly self-financed) production ruined Griffith financially and baffled audiences with its multiple plots and labyrinthine structure, it has been enormously influential on generations of filmmakers, including Eisenstein, who studied the film closely.

(IVAN GROZNY) by Sergei Eisenstein (1942-46, 194 min, 35mm. In Russian with no subtitles; English synopsis available.) “The first time in history a man has committed suicide by cinema,” quipped Dovzhenko. A state-sanctioned production, Ivan’s opulent furs and jewels color the black-and-white machinations by a demonic Czar bent on making his subjects’ lives a living hell – a statement pointed with outrage directly at Stalin.

THE THREE-SIDED MIRROR / LA GLACE À TROIS FACES 1927, 38 min, 35mm. French intertitles with English voiceover. THE FALL OF THE HOUSE OF USHER / LA CHUTE DE LA MAISON USHER 1928, 62 min, 35mm. French intertitles with English voiceover.

Humphrey Jennings LISTEN TO BRITAIN (1941, 19 min, 35mm) Jennings’s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. Dimitri Kirsanoff MÉNILMONTANT (1924-25, 38 min, 35mm, silent) “[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance’s LA ROUE (1923) and Leon Moussinac’s LE BRASIER ARDENT (1923)…and with Jean Epstein’s COEUR FIDÈLE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff’s achievement.” –P. Adams Sitney, THE CINEMA OF POETRY Total running time: ca. 60 min.

FILM PORTRAIT (1971, 81 min, 35mm) “FILM PORTRAIT is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] FILM PORTRAIT is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a strict sense. We have Cocteau’s BLOOD OF A POET, ORPHEUS, and TESTAMENT OF ORPHEUS. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s FILM PORTRAIT is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s TESTAMENT and my own SINCERITY & DUPLICITY series of autobiographical films were very much inspired by Jerome’s FILM PORTRAIT as well as by Jonas’s WALDEN. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END Preceded by: DEATH IN THE FORENOON (1934/66, 2 min, 35mm) CANARIES (1969, 4 min, 35mm) These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art. Total running time: ca. 90 min.

DUO CONCERTANTES (1962-64, 6 min, 16mm) HAMFAT ASAR (1965, 13 min, 16mm) GYMNOPEDIES (1968, 6 min, 16mm) THE OLD HOUSE, PASSING (1966, 45 min, 16mm. Preserved by Anthology Film Archives.) OUR LADY OF THE SPHERE (1968, 9 min, 35mm) “With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.” –Jackie Leger Total running time: ca. 85 min.

by Robert Flaherty (1934, 76 min, 35mm) Flaherty’s third major film portrays the lives of a family of fisher folk on the Aran Islands off the coast of Galway, Ireland. Flaherty selected the location and subjects because of their isolation as the westernmost outpost of European civilization. In addition, the daily struggle between the islanders and the sea perfectly suited his interests and concerns. The scenes at sea are breathtaking. “His passionate devotion to the portrayal of human gesture and of a man’s fight for his family makes the film an incomparable account of human dignity. Better than anyone, Flaherty knew how to show the true face of Man.” –Georges Sadoul

by Robert Flaherty (1922, 83 min, 35mm, silent) Flaherty’s pioneering ethnographic film depicts the struggle for survival of Inuit hunter Nanook and his family. Though rife with staged scenes, anachronisms, and an indulgence in the myth of the “noble savage” (Nanook was in fact an Inuit man named Allakariallak, who hunted not with harpoons and spears but with a rifle), NANOOK OF THE NORTH is a work of great lyricism, simplicity of design, and genuine affection for its protagonists, and its force is undiminished almost 100 years after it was made.

(OKTYABR ) by Sergei Eisenstein (1928, 143 min, 35mm, silent. With Russian intertitles; English synopsis available.) “An imaginary document projected on actual locations, OCTOBER is the Soviet equivalent of the Sistine Chapel – an artist commissioned by the state has represented the sacred origins of the universe. Woodrow Wilson had famously hailed D.W. Griffith’s THE BIRTH OF A NATION (1915) as ‘history written with lightning,’ but Eisenstein’s cosmic newsreel cum theoretical film poem goes beyond THE BIRTH OF A NATION, as well as his own BATTLESHIP POTEMKIN, in drafting the past to serve the requirements of the present. No less than the revolutionaries who made October, Eisenstein understood himself as history’s tool. Thus consecrated to the Bolshevik faith, his OCTOBER is a perfect tautology – it clarifies and improves on history in the service of objective historical necessity.” –J. Hoberman, THE RED ATLANTIS: COMMUNIST CULTURE IN THE ABSENCE OF COMMUNISM

(STAROYE I NOVOYE) by Sergei Eisenstein (1929, 120 min, 35mm, silent. With Russian intertitles; English synopsis available.) With OLD AND NEW, also known as THE GENERAL LINE, Eisenstein developed and perfected his theories of “mise-en-cadre,” using the montage of characters in the foreground and background to conjure meanings, and “overtonal montage,” bringing silent film to its zenith.

by Dimitri Kirsanoff (1934, 84 min, 35mm. In French with no subtitles; English synopsis available.) “RAPT is, paradoxically, both a film that looks back anachronistically toward the silent era and a work that belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film’s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre…. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L’ÂGE D’OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.” –Lucy Fisher

(STACHKA) by Sergei Eisenstein (1925, 106 min, 35mm, silent. With Russian intertitles; English synopsis available.) Eisenstein’s interest in the Freudian father complex drives this psychological scenario in which non-actors step forward to acknowledge the viewer, illustrating Eisenstein’s desire to penetrate to the heart of cinema, sidestepping realism by ‘being real.’ Governmental restrictions made STRIKE the only completed film of a series intended to portray the road to revolution.

by Buster Keaton & Clyde Bruckman (1927, 105 min, 35mm, silent. With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.) “In the funniest of all silent feature comedy classics, the imperturbable Buster Keaton is cast as a daring Federal Spy with an outlandish plan to change the course of the Civil War. This sophisticated and grotesque screen farce – eloquently touching, uproariously hilarious – is a perfect example of Keaton’s art. Engulfed by switches, stolen engines, valves, and other mechanical contrivances, the immortal comedian – an engine driver literally on the wrong side of the tracks – solemnly attempts to behave normally in a world which is plainly bewitched.” –CINEMA 16 program notes, 1958 Preceded by: Buster Keaton & Edward F. Cline NEIGHBORS 1920, 18 min, 16mm, silent

by Ken Jacobs (1969, 115 min, 16mm, silent) “Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs

by Marcel Hanoun (1958, 68 min, 16mm. In French with projected English subtitles.) “Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.” –TIME

Johanna Schenkel & Klaus Maeck EINSTURZENDE NEUBAUTEN: LIEBESLIEDER 1993, 99 min, DCP. In English and German with English subtitles.

Edward Owens REMEMBRANCE: A PORTRAIT STUDY 1967, 6 min, 16mm Edward Owens PRIVATE IMAGININGS AND NARRATIVE FACTS 1968-70, 9 min, 16mm, silent Robert Beavers PITCHER OF COLORED LIGHT 2000-07, 23 min, 16mm-to-35mm Gunvor Nelson TIME BEING 1991, 8 min, 16mm, silent Friedl vom Gröller PARENTS: MOTHER, FATHER / ELTERN: MUTTER, VATER 1997-99, 6 min, 16mm, silent Friedl vom Gröller NEC SPE, NEC METU 2013, 4 min, 16mm, silent Guy Sherwin SHORT FILM SERIES: PORTRAIT WITH PARENTS 1974, 3 min, 16mm Gunvor Nelson MY NAME IS OONA 1969, 10 min, 16mm Paige Taul 10:28,30 2019, 4.5 min, 16mm-to-DCP Viktoria Schmid KATHARINAVIKTORIA 2011, 1 min, 16mm-to-DCP Viktoria Schmid KATHARINAVIKTORIA 2(021) 2022, 1 min, 16mm

Yoko Ono & John Lennon FILM NO. 5 (SMILE) 1968, 49 min, 16mm, silent With: Yoko Ono FLUXFILM NO. 16: aka FILM NO. 4: BOTTOMS 1966, 6 min, 16mm-to-digital, silent

Chuck Smith FUGS FILM! 2025, 84 min, DCP

Gregory Markopoulos GALAXIE 1966, 82 min, 16mm

Wolfgang Büld GIRLS BITE BACK aka WOMEN IN ROCK 1980, 45 min, 16mm-to-DCP. In English and German with English subtitles. LiLiPUT ROAD MOVIE 1982/2006, 29 min, Super-8mm-to-digital

Mathieu Amalric HOLD ME TIGHT / SERRE MOI FORT 2021, 97 min, DCP. In French with English subtitles. With Vicky Krieps, Arieh Worthalter, Anne-Sophie Bowen-Chatet, and Sacha Ardilly.

FILMMAKERS IN PERSON! Steven Zeitlin & Amanda Dargan IN THE MOMENT: WORLD POETRY DUELS AND IMPROVISATIONS 2022, 60 min, DCP Preceded by: Richard Levine AFTER BASHŌ 2026, 8 min, DCP

Bernd Sahling IT’LL BE OK / ALLES WIRD GUT 1987-90, 78 min, 16mm-to-DCP. In German with English subtitles.

THE THEATER OF THE MATTERS & TAUFIC PRESENT: JEAN-CLAUDE ROUSSEAU’S ‘THE PASTORAL CONCERT’ + ‘LAST STOP FOR THE CIRCULAR TICKET’ This book launch event celebrates the release of Jean-Claude Rousseau’s unclassifiable, long-unavailable film text, The Pastoral Concert, published for the first time in English this October by Taufic. The evening will culminate in a special premiere screening of Rousseau’s new feature film, LAST STOP FOR THE CIRCULAR TICKET (winner of a Jury Special Mention at this year’s FIDMarseille), alongside his 2006 short, FAUX DÉPART. The Pastoral Concert marks the first English translation of Rousseau’s early written work Le Concert champêtre, begun in 1968, some fifteen years before his debut film. Rousseau continued shaping the work as a screenplay until its rejection by the Centre National de la Cinématographie in 1983. Unrealized, Le Concert champêtre became the matrix from which Rousseau’s subsequent films would emerge. Translated from the French by artist and filmmaker Kevin Weil, this edition includes an extensive appendix of extra-diegetic materials written by Rousseau, as well as correspondence with contemporaries such as Dominique Noguez, Marcel Hanoun, and Jean-Marie Straub, which form a picture of the work’s early reception. For more info about The Pastoral Concert visit: https://taufic.org/the-pastoral-concert Jean-Claude Rousseau LAST STOP FOR THE CIRCULAR TICKET / DERNIER ARRÊT POUR LE BILLET CIRCULAIRE 2026, 87 min, DCP. No dialogue. Preceded by: Jean-Claude Rousseau FAUX DÉPART 2006, 13 min, DCP. No dialogue.

U.S. PREMIERE! Nuria Ibáñez Castañeda EL GUARDIÁN Mexico/Spain, 2025, 102 min, DCP. In Spanish with English subtitles. Basilio is hired to watch over a remote beach on Mexico's Baja California coast, a seemingly idyllic stretch of shoreline where little appears to happen. But beneath the tranquil surface lies a community governed by its own codes, where illicit activities coexist with everyday life. Guided by an unwavering moral compass, Basilio is determined to do what he believes is right – only to discover that justice is far more elusive than he imagined. Set against a breathtaking coastal landscape, EL GUARDIÁN, the striking fiction debut by acclaimed documentary filmmaker Nuria Ibáñez (THE NAKED ROOM, A WILD STREAM), is a gripping and quietly unsettling meditation on ethics, belonging, and the fragile boundaries between duty and survival.

NEW YORK PREMIERE! Karla Badillo OCA Mexico/Argentina, 2025, 109 min, DCP. In Spanish with English subtitles. Winner of the Silver Hugo Award in the New Directors Competition at the Chicago International Film Festival, this atmospheric and mystical debut feature by Karla Badillo tells the story of Rafaela, a young nun from a dwindling congregation who embarks on a pilgrimage after the arrival of a new archbishop. Along the way, she encounters travelers from diverse walks of life, and her journey becomes a lyrical and often poignant meditation on faith, doubt, and resilience in a world shaped by both spiritual and material forces. Featuring a stellar ensemble cast of professional actors – including Natalia Solián (HUESERA: THE BONE WOMAN), Cecilia Suárez (THE HOUSE OF FLOWERS), and Raúl Briones (LA COCINA) – alongside non-professional performers, the film offers a quietly critical lens on devotion and institutional life, reimagining the spiritual cinema of Luis Buñuel through a contemporary, distinctly female perspective, and tracing the winding path between belief, destiny, and self-discovery.

Mathieu Amalric MAÎTRES ANCIENS – COMÉDIE 2022, 80 min, DCP. In French with English subtitles. Preceded by: Mathieu Amalric C’EST PRESQUE AU BOUT DU MONDE 2015, 16 min, digital. With Barbara Hannigan.

Friedl vom Gröller MAX TURNHEIM 2002-24, 57 min, 16mm, silent

PROGRAM 1: CONFESSIONS AND SEX HISTORIES Betty Brown & Rikki Ripp SEXUAL FANTASY PARTY 1973, 12 min, SD-video-to-DCP Honey Lee Cottrell SWEET DREAMS 1979, 14 min, 16mm-to-DCP. Featuring Patrick Califia. Laird Sutton WARDELL POMEROY TAKES A SEX HISTORY 1977, 35 min, 16mm Curt McDowell CONFESSIONS 1972, 11 min, 16mm

PROGRAM 2: ACTIVE PARTNERS: FOUR FILMS ON SEX AND DISABILITY Laird Sutton JUST WHAT CAN YOU DO 1972, 23 min, 16mm Laird Sutton TOUCHING 1972, 17 min, 16mm Theodore M. Cole & Sandra S. Cole ARTIST’S FANTASY 1975, 15 min, 16mm Marvin Silverman ACTIVE PARTNERS 1979, 8 min, 16mm

PROGRAM 3: GAY LIBERATION ON 16MM Wakefield Poole FREEDOM DAY PARADE 1974, 11 min, 16mm-to-DCP Laird Sutton GAY WOMEN SPEAK 1979, 15 min, 16mm. Featuring Phyllis Lyon. Laird Sutton A GAY VIEW: MALE 1975, 17 min, 16mm Sharrie Farrell SANDY & MADELINE’S FAMILY 1973, 30 min, 16mm Jan Oxenberg A COMEDY IN SIX UNNATURAL ACTS 1975, 27 min, 16mm-to-DCP

PROGRAM 4: THE PERSONAL AND THE POLITICAL: SEXUALITY, ROMANCE AND WOMEN’S LIB Sam Joseph & Mariko Tse FIRST DATE 1977, 5 min, 8mm-to-DCP Anne Severson I CHANGE I AM THE SAME 1969, 1 min, 16mm Catherine Allen, Judy Irola, Allie Light, and Joan Musante SELF-HEALTH 1974, 23 min, 16mm-to-DCP Jacqueline Frazier HIDDEN MEMORIES 1977, 10 min, 16mm-to-DCP Penelope Spheeris I DON’T KNOW 1970, 20 min, 16mm-to-DCP George Csicsery HOOKERS 1975, 25 min, 16mm

PROGRAM 5: BROUGHTON EC+ Laird Sutton JAMES 1979, 10 min, 16mm James Broughton THE BED 1968, 19 min, 16mm James Broughton NUPTIAE 1969, 14 min, 16mm James Broughton THE GOLDEN POSITIONS 1970, 32 min, 16mm

PROGRAM 6: EROTIC FANTASY: BEESON AND BEYOND José Rodriguez-Soltero JEROVI 1965, 11 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts. Coni Beeson THE NOW 1970, 14 min, 16mm Coni Beeson HOLDING 1971, 15 min, 16mm Coni Beeson STAMEN 1972, 15 min, 16mm Chick Strand FEVER DREAM 1979, 7 min, 16mm

PROGRAM 7: PATTERN FILMS, PART 1 Greg Von Buchau LOVE TOAD 1971, 2 min, 16mm-to-DCP Laird Sutton POSSIBILITIES 1973, 12 min, 16mm Laird Sutton QUIET AFTERNOON 1975, 20 min, 16mm Edd Dundas NICK AND JON 1976, 20 min, 16mm Laird Sutton BOTH/AND 1975, 25 min, 16mm

PROGRAM 8: PATTERN FILMS, PART 2 Laird Sutton & Bill Chamberlain TITLES AVAILABLE 1972, 7 min, 16mm-to-DCP Laird Sutton FULLNESS 1975, 13 min, 16mm Ann Hershey WE ARE OURSELVES 1975, 15 min, 16mm Laird Sutton JIM & VERN 1979, 15 min, 16mm Laird Sutton A RIPPLE IN TIME 1975, 20 min, 16mm

Charles Kaufman MOTHER’S DAY 1980, 90 min, 35mm

Mathieu Amalric MUSIC IS MUSIC 2017, 20 min, DCP Mathieu Amalric BEFORE IT’S TOO LATE / AVANT QU’IL NE SOIT TROP TARD 2023, 65 min, DCP

Lucio Castro DRUNKEN NOODLES 2025, 83 min, DCP. In English and Spanish with English subtitles. When Adnan (Laith Khalifeh) arrives in New York to work at a Lower East Side gallery for the summer, he’s newly single and ready to mingle. He cruises strangers in the park at night and begins a flirtation with a delivery driver. At work, he’s helping to exhibit the recently discovered work of Sal Salandra, a real-world gay artist and elder who crafts tableaus of gay orgies and sex club scenes in vibrant needlepoint. These artworks – and Sal himself, played by Ezriel Kornel – become the connective thread for a time-jumping narrative that unfolds in four parts. Made for little money, with a small crew and total creative control, the latest by Lucio Castro (END OF THE CENTURY) is a delightful, sexually-charged short-story collection with whimsical elements of dreamy magical realism. Released during the full flower of NYC PRIDE season, DRUNKEN NOODLES is well worth watching – or rewatching – before making your Best-of-2026 lists.

Peter Sempel NINA HAGEN = PUNK + GLORY 1999, 100 min, 16mm-to-DCP. In English and German with English subtitles.

SPECIAL SCREENING – FILMMAKERS IN PERSON! Eve Sussman, Simon Lee, Angela Christlieb NO FOOD NO MONEY NO JEWELS 2026, 35 min, DCP A group of factory workers – Bear, Rabbit, Owl, Pig, and Donkey – are caught in a cycle of ridiculous labor, endlessly moving water around a scaffolding tower. Shot on a theater stage, where the characters are unable to exit, and at the Frankfurt Zoo, its own kind of stage with caged protagonists, NO FOOD NO MONEY NO JEWELS follows the trials and tribulations of workers clocking in at a makeshift factory. The film is both a literal and cinematic collage, merging vérité footage with a constructed theatrical set: a shifting arrangement of life-size found photographs make up the backdrop for each scene. The script combines original text, channelings of famous people, and rewrites of stories from House at Pooh Corner. What emerges is a story about work, authority, and the desire to escape. SNEAK PREVIEW! Angela Christlieb NOTES FROM THE INTERZONE 2026, 34 min, DCP “[This film] is based on diary fragments and anecdotes created since my first stay in New York in 1997 – a personal journey into the world of imagination, interwoven from dream journals, cinematic fragments, and real memories. The film begins in the present: New York, a city in a state of political upheaval. Everything seems familiar, yet nothing is normal anymore. From here, an associative journey opens inward – into an in-between world where reality, dream, and memory overlap into a fever dream of images, voices, and thoughts.” –Angela Christlieb Screening between the two films: Simon Lee LISTEN PUNK (HOFFA) 2015, 4 min, DCP

Michael Braun NO FUTURE – KEIN BOCK AUF ILLUSIONEN 1981, 44 min, 16mm-to-DCP. In German with English subtitles. Detlev Puls ALLET UNITED – PUNK IM POTT 1983, 25 min, 16mm-to-DCP. In German with English subtitles.

ALYSTYRE JULIAN & ANNE WALDMAN IN PERSON! Alystyre Julian OUTRIDER 2025, 100 min, DCP. With Anne Waldman. Producer: Sarah Riggs; Executive Producer: Martin Scorsese. Preceded by: Richard Levine AFTER BASHŌ 2026, 8 min, DCP

Sue Ford FACES 1976, 9 min, 16mm-to-DCP, silent Narcisa Hirsch SURELY BACH CLOSED THE DOOR WHEN HE WANTED TO WORK / SEGURO QUE BACH CERRABA LA PUERTA CUANDO QUERIA TRABAJABAR 1978, 27 min, Super-8mm-to-DCP. In Spanish with English subtitles. Ernst Schmidt Jr. COLLECTED BY WENDY / GESAMMELT VON WENDY 1979, 2 min, 16mm Dominic Angerame PHONE/FILM PORTRAITS 1985, 6 min, 16mm Cathleen Kayser I LOVE YOU / ICH LIEBE DICH 2025, 3 min, Super-8mm-to-digital, silent Friedl vom Gröller 27.12.2013 ST. LOUIS SENEGAL 2014, 3 min, 16mm, silent Friedl vom Gröller 2020 2021, 2.5 min, 16mm, silent Marieli Fröhlich S T O P 2010-25, 30 min, DCP

Stan Brakhage TWO: CREELEY/MCCLURE 1965, 3 min, 16mm, silent Amy Halpern JANE, LOOKING 2020, 2 min, 16mm, silent Ernst Schmidt Jr. THE ACT OF THINKING / DENKAKT 1968, 3 min, 16mm S. Pearl Sharp BACK INSIDE HERSELF 1984/2009, 4.5 min, 16mm-to-digital. Courtesy of the artist and Cinenova Distribution. Stuart Sherman MR. ASHLEY PROPOSES (PORTRAIT OF GEORGE) 1985, 1.5 min, 16mm, silent Joan Logue VIDEO PORTRAITS: NEW ENGLAND FISHERMEN 1985, 15 min, video Friedl vom Gröller GRAF ZOKAN (FRANZ WEST) 1969, 4 min, 16mm, silent Friedl vom Gröller LISA 2001, 3 min, 16mm, silent Friedl vom Gröller ADAMA DIOUF 2014, 3 min, 16mm, silent Friedl vom Gröller JELENA 2024, 3 min, 16mm Everlane Morães AURORA 2019, 15 min, digital

Gerard Malanga ANDY WARHOL: PORTRAITS OF THE ARTIST AS A YOUNG MAN 1964, 21 min, 16mm-to-DCP Ludwig Schönherr PORTRÄTFILM: KURT KREN 1969, 3.5 min, 16mm-to-DCP, silent Ludwig Schönherr PORTRÄTFILM: ELISABETH ERKNER 1969, 14 min, 16mm-to-DCP, silent Barry Gerson PORTRAIT OF ANDREW NOREN 1972, 4 min, 16mm, silent Friedl vom Gröller PETER KUBELKA UND JONAS MEKAS 1994, 2.5 min, 16mm, silent Friedl vom Gröller FLO UND KEN JACOBS 2001, 3 min, 16mm, silent Friedl vom Gröller I DON’T WANT TO BE FILMED BUT RATHER SHOOT MYSELF / ICH WILL NICHT GEFILMT WERDEN, SONDERN SELBER FILMEN 2023, 3 min, 16mm, silent Christiana Perschon FRIEDL 2023, 2.5 min, 16mm-to-DCP

While not as long-standing as the romance with trains, cinema has a love affair with taxis. A cab ride is often more than just a means of getting from one place to another. The taxi is a cinematic apparatus in motion, a confessional, an urban microcosm, a transition, a temporary intimacy, an archive of daily life, a nightmare of forced conversation, an eavesdropper’s dream. Yet beneath such metaphors are material threats: the gig economy, prior and enduring precarities and exploitation of labor, movements of migration conditioned by colonization. POSTCOLONIAL MOTION: TAXIS AND TRAVELOGUES draws together three films combining oral testimonies and the kinetics of transport. Frank Sweeney, Karimah Ashadu, and Timoteus Anggawan Kusno each consider the movements of people, goods and images, tracing how workers warp the barriers of historical categories and economic constraints as they cross borders. Guest-programmed by Yasmina Price, who wrote the introduction and individual film descriptions. Frank Sweeney GO YE AFAR 2026, 24 min, DCP Karimah Ashadu BROWN GOODS 2020, 12 min, DCP Timoteus Anggawan Kusno OBSCURA 2026, 14 min, DCP

Thomas Schmitt RIOTS AND LOVE / RANDALE UND LIEBE – ROCKER, POPPER, TEDS UND PUNKS 1981, 74 min, 16mm-to-DCP. In German with English subtitles.

Rosalyn Drexler (1926-2025) was a category-defying creative force. Over the course of her multidecade career, she worked as a painter (creating some of the first examples of Pop art), a novelist, an Obie-award-winning playwright, a film critic, an occasional nightclub singer, and briefly, a professional wrestler. The documentary WHO DOES SHE THINK SHE IS? (1975) provides a window into Drexler’s extraordinary creative universe. Set against the backdrop of the lost artistic demimonde of 20th-century New York, the film – directed by Patricia Lewis Jaffe and Gaby Rodgers – shows the artist rehearsing her madcap cabaret performances, cooking for her family in her art-strewn Manhattan apartment, and speaking candidly about her art, writing, and life. As Newsweek critic Jack Kroll remarks in the film, “[Drexler’s] essential insight is that people and things are completely insane, and she speaks from inside the whale.” The documentary will be accompanied by never-before-seen home movies shot by Drexler and her husband Sherman in the 1940-50s, as well as a panel discussion. The screening coincides with a major exhibition of her work from the 1960s at Garth Greenan Gallery at 25 Greene Street; for more info about the exhibition visit: https://www.garthgreenan.com/ Patricia Lewis Jaffe & Gaby Rodgers WHO DOES SHE THINK SHE IS? 1975, 60 min, 16mm. Print courtesy of Garth Greenan Gallery.

SCREEN TESTS + SCREEN TESTS REVISITED, PGM 1 These two programs pair Warhol’s seminal and often exquisite SCREEN TESTS – the silent, black-and-white, three-and-a-half minute filmic portraits he made between 1964-66, which grew to encompass 472 separate reels, portraying 189 individual subjects (many of them sitting for multiple portraits) – with Conrad Ventur’s 21st-century remakes. For Ventur’s (ongoing) project, he has sought out as many of the surviving SCREEN TESTees as possible, and restaged their portraits, resulting in a poetic tribute to Warhol’s films and to the transformations wrought by time.

SCREEN TESTS + SCREEN TESTS REVISITED, PGM 2 These two programs pair Warhol’s seminal and often exquisite SCREEN TESTS – the silent, black-and-white, three-and-a-half minute filmic portraits he made between 1964-66, which grew to encompass 472 separate reels, portraying 189 individual subjects (many of them sitting for multiple portraits) – with Conrad Ventur’s 21st-century remakes. For Ventur’s (ongoing) project, he has sought out as many of the surviving SCREEN TESTees as possible, and restaged their portraits, resulting in a poetic tribute to Warhol’s films and to the transformations wrought by time.

Gérard Courant N°0 GÉRARD COURANT 1977, 3.5 min, 16mm-to-digital Kurt Kren 36/78 RISCHART 1978, 3 min, 16mm Shigeko Kubota SELF-PORTRAIT ca. 1970-1971, 5 min, video Tehching Hsieh TIME CLOCK PIECE (ONE YEAR PERFORMANCE 1980-1981) 1980-81, 7 min, 16mm, silent Gotot Prakosa SELF-PORTRAIT 1982, 3 min, digital Valie Export SELF-PORTRAIT WITH HEAD / SELBSTPORTRAIT MIT KOPF 1966-67, 4 min, DCP, silent Vito Acconci WATCH 1971, 9 min, Super-8mm-to-16mm, silent. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. Toney W. Merritt LONESOME COWBOY 1979, 30 sec, 16mm Maria Lassnig SELFPORTRAIT 1971, 4.5 min, 16mm Maria Lassnig HEAD [FILMS IN PROGRESS] / KOPF [FILMS IN PROGRESS] mid-1970s, 1 min, 16mm-to-digital Gary Beydler GLASS FACE 1975, 3 min, 16mm, silent George Griffin HEAD 1975, 10 min, 16mm Friedl vom Gröller EAT 1996, 3 min, 16mm Friedl vom Gröller WHY LIFE IS WORTH LIVING / WARUM ES SICH ZU LEBEN LOHNT 2013, 2 min, 16mm, silent Friedl vom Gröller TOD 2023, 23 sec, 16mm, silent

Lloyd Kaufman & Michael Herz SGT. KABUKIMAN NYPD 1990, 105 min, 35mm-to-DCP

Lloyd Kaufman TERROR FIRMER 1998, 114 min, 35mm

Lloyd Kaufman THE BATTLE OF LOVE’S RETURN 1971, 82 min, 35mm-to-DCP

Juliet Bashore THE BATTLE OF TUNTENHAUS, PART 1 1991, 24 min, DCP. In German with English subtitles. THE BATTLE OF TUNTENHAUS, PART 2 1992, 19 min, DCP. In German with English subtitles.

Wesley Barry THE CREATION OF THE HUMANOIDS 1962, 84 min, 16mm Mike Kuchar SINS OF THE FLESHAPOIDS 1965, 48 min, 16mm. With Bob Cowan, George Kuchar, Donna Kerness, Gina Zuckerman, Maren Thomas, and Julius Middleman.

FREE SCREENING! THE DRAWING CENTER PRESENTS: FORM, SHADOW, MOTION This program of artist films and videos is presented in conjunction with The Drawing Center’s current exhibition “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong”, opening on October 23, 2026 and on view until January 2027. The screening showcases a selection of artist pieces that extend the exhibition's visual essay on shared historical, poetic, and philosophical concerns, with Hong Kong and New York as twin points of reference and Eastern thought and Western philosophy as its guiding frameworks. “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong” is organized by Olivia Shao, Burger Collection & TOY Meets Art Curator. Film selection TBD

Lloyd Kaufman THE TOXIC AVENGER 1984, 87 min, 35mm-to-DCP

Lloyd Kaufman & Michael Herz TROMA’S WAR 1988, 91 min, 35mm-to-DCP

Lloyd Kaufman TROMEO AND JULIET 1996, 107 min, 35mm-to-DCP

BOOK RELEASE EVENT! TWENTY YEARS LATER: A MAN MARKED TO DIE This evening features a screening of Eduardo Coutinho’s TWENTY YEARS LATER: A MAN MARKED TO DIE (1984), introduced by the internationally acclaimed and Booker-shortlisted writer Itamar Vieira Junior. The evening also celebrates the English publication (by Verso) of Vieira Junior’s new novel, Saving the Fire, which presents the ghosts of a family’s past, lost amid the shadows of Brazil’s history. Vieira Junior masterfully blends the intimate journeys of his characters with faithfully rendered elements of Brazilian life in a world where the scars of colonialism still ache. For more info about Itamar Vieira Junior’s Saving the Fire, visit: https://www.versobooks.com/products/3303-saving-the-fire Eduardo Coutinho TWENTY YEARS LATER: A MAN MARKED TO DIE / CABRA MARCADO PARA MORRER 1984, 119 min, 35mm-to-digital. In Portuguese with English subtitles.

Lloyd Kaufman & Michael Herz WAITRESS! 1981, 88 min, 35mm-to-DCP

Dieter Schumann whisper & SHOUT / flüstern & SCHREIEN 1988, 115 min, 35mm-to-DCP. In German with English subtitles.

2025, 115 min, DCP. In Russian, Belarusian, English, and Mandarin with English subtitles. “Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE

Mathieu Amalric ZORN I (2010-2016) 2017, 54 min, DCP Mathieu Amalric ZORN II (2016-2018) 2018, 59 min, DCP

Mathieu Amalric ZORN III (2018-2022) 2022, 82 min, DCP. With John Zorn and Barbara Hannigan.