Luc Moullet A GIRL IS A GUN / UNE AVENTURE DE BILLY LE KID 1971, 100 min, 35mm-to-DCP. In French with English subtitles.

Jenny Abel & Jeff Hockett ABEL RAISES CAIN 2005, 82 min, digital

Rolando Díaz ADIÓS CUBA 2025, 140 min, DCP. In Spanish with English subtitles.

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

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

Gottfried Kolditz APACHES / APACHEN 1973, 94 min, 35mm-to-DCP. In German with English subtitles.

Iván Acosta BEHIND MY EYES / DETRÁS DE MIS OJOS 2021, 90 min, DCP. In Spanish with English subtitles.

A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O. Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST (1991), and many other films. Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm!

Glauber Rocha BLACK GOD, WHITE DEVIL / DEUS E O DIABO NA TERRA DO SOL 1964, 118 min, 35mm-to-DCP. In Portuguese with English subtitles.

Phil Karlson BLACK GOLD 1947, 90 min, 16mm. With Anthony Quinn.

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.

Holly Fisher BULLETS FOR BREAKFAST 1992, 77 min, 16mm Preceded by: Esther Shatavsky BEDTIME STORY 1981, 6 min, 16mm

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

Robert Hossein CEMETERY WITHOUT CROSSES / UNE CORDE…UN COLT… 1969, 90 min, 35mm-to-DCP. In French, Italian, and Spanish with English subtitles.

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

Liena Cid Navia & Patricia Pérez Fernández CÓDIGO MARCOS 2025, 80 min, DCP. In Spanish with English subtitles.

Pavel Giroud COMANDANTE FRITZ 2025, 105 min, DCP. In Spanish and German with English subtitles.

Matthew Barney CREMASTER 2 1999, 79 min, DCP Preceded by: Mary Lucier ARABESQUE 2004, 7 min, digital

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

Jim Jarmusch DEAD MAN 1995, 121 min, 35mm-to-DCP

Roland Klick DEADLOCK 1970, 85 min, 35mm-to-DCP. In English and German with English subtitles.

Jules Rosskam DESIRE LINES 2024, 83 min, DCP

Marco Ferreri DON’T TOUCH THE WHITE WOMAN! / TOUCHE PAS À LA FEMME BLANCHE 1974, 108 min, 35mm. In French with English subtitles.

PROGRAM 1: DUCHAMP IN/ON FILM Andy Warhol SCREEN TEST (ST79): MARCEL DUCHAMP 1966, 4 min, 16mm-to-DCP, silent René Clair & Francis Picabia ENTR’ACTE 1924, 22 min, 35mm Marcel Duchamp & Man Ray ANÉMIC CINÉMA 1926, 7 min, 35mm, silent Maya Deren WITCH’S CRADLE 1944, 12.5 min, 16mm, silent. Preserved by Anthology Film Archives. Marcel Duchamp DISCS 1947, 4 min, 16mm-to-DCP Andy Warhol DUCHAMP OPENING 1963, 4 min, 16mm-to-DCP, silent

PROGRAM 2: FOUND FOOTAGE Joseph Cornell ROSE HOBART ca. 1936/68, 20 min, 16mm, sound. Preserved by Anthology Film Archives. Alberto Grifi & Gianfranco Baruchello UNCERTAIN VERIFICATION / LA VERIFICA INCERTA 1964, 31 min, 16mm-to-DCP Hollis Frampton THE BIRTH OF MAGELLAN: CADENZA I 1977-80, 5 min, 16mm Phil Solomon THE PASSAGE OF THE BRIDE 1980, 6 min, 16mm, silent Peter Tscherkassky TRAIN AGAIN 2021, 20 min, 35mm-to-DCP

PROGRAM 3: READY-MADE FILMS: Ken Jacobs ARTIE AND MARTY ROSENBLATT’S BABY PICTURES 1963, 4 min, 8mm-to-16mm, silent. Preserved by Anthology Film Archives. Albert Fine READYMADE 1966, 2.5 min, 16mm-to-digital, silent Muntadas TRANSFER 1975, 19 min, video Phil Solomon THE PASSAGE OF THE BRIDE 1980, 6 min, 16mm, silent Ken Jacobs PERFECT FILM 1985, 24 min, 16mm Christian Lebrat LE MOTEUR DE L’ACTION 1985, 8.5 min, 16mm Peter Tscherkassky SHOT/COUNTERSHOT 1987, 11 sec, 16mm, silent

PROGRAM 4: NUDES DESCENDING Shigeko Kubota VIDEO INSTALLATIONS 1970-1994 1994, 3-min excerpt, video Robert Huot NUDE DESCENDING THE STAIRS 1970, 9.5 min, 16mm, silent Dan Browne NUDE DESCENDING (AFTER DUCHAMP) 2013, 2 min, digital Patrice Kirchhofer NDUE 2014, 20 min, digital. Soundtrack: John Cage’s “Music for Marcel Duchamp”. Shigeyuki Kihara MAUI DESCENDING A STAIRCASE II (AFTER DUCHAMP) 2015, 6 min, digital Wenhua Shi DESCENDING A STAIRCASE 2013-16, 7 min, digital Dianna Barrie & Richard Tuohy NUDE DESCENDING 2026, 10 min, 16mm

PROGRAM 5: ANÉMIC CINÉMA Marcel Duchamp & Man Ray ANÉMIC CINÉMA 1926, 7 min, 35mm, silent Marcel Duchamp DISCS 1947, 4 min, 16mm-to-DCP Ernst Schmidt, Jr. A SUB-HISTORY OF FILM / EINE SUBGESCHICHTE DES FILMS 1974, 2 min, 16mm-to-DCP, silent Paolo Gioli IMAGES OVERTAKEN BY THE WHEEL OF DUCHAMP / IMMAGINI TRAVOLTE DALLA RUOTA DI DUCHAMP 1994, 12.5 min, 16mm-to-DCP Peggy Ahwesh THE VISION MACHINE 1997, 20 min, 16mm Gustav Deutsch FILM IS. A BLINK OF AN EYE / FILM IST. EIN AUGENBLICK 1998, 4 min, 16mm-to-DCP Siegfried Fruhauf THORAX 2019, 8 min, DCP Siegfried Fruhauf BALLET ANÉMIC 2022, 6 min, DCP, silent Marcel Duchamp & Man Ray ANÉMIC CINÉMA #2 [alternate version] 1924-63, 9 min, 35mm-to-digital

PROGRAM 6: HOMAGE Shigeko Kubota MARCEL DUCHAMP AND JOHN CAGE 1972, 28.5 min, video Hannah Wilke HANNAH WILKE THROUGH THE LARGE GLASS 1976, 10 min, 16mm-to-DCP, silent John Cage CHESSFILMNOISE 1988, 17 min, 16mm-to-DCP Abigail Child ELSA merdelamerdelamer 2013, 4 min, DCP Lene Berg SHAVING THE BARONESS 2010, 7.5 min, DCP

PROGRAM 7: MERCE AND MARCEL Charles Atlas & Merce Cunningham WALKAROUND TIME 1973, 48 min, 16mm-to-DCP Shigeko Kubota & Nam June Paik MERCE BY MERCE BY PAIK PART TWO: MERCE AND MARCEL 1978, 13 min, video

PROGRAM 8: Jean-Marie Drot MARCEL DUCHAMP: A GAME OF CHESS / JEU D’ÉCHEC AVEC MARCEL DUCHAMP 1963/87, 56 min, 16mm-to-DCP. In French with English subtitles.

(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT) With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.

(LA BELLE ET LA BÊTE) by Jean Cocteau In French with English subtitles. “Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael

Luis Buñuel & Salvador Dalí UN CHIEN ANDALOU (1928, 22 min, 35mm, b&w) Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It remains the unsurpassed masterpiece of the surrealist cinema. Luis Buñuel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1932, 28 min, 35mm, b&w. With English narration.) “A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.” –Raymond Durgnat Total running time: ca. 55 min.

Alberto Cavalcanti RIEN QUE LES HEURES / NOTHING BUT THE HOURS 1926, 52 min, 35mm One of the very first “city symphonies,” this film interweaves documentary, experimental, and narrative elements that together provide vivid images of Paris in the mid-1920s. The Brazilian-born Cavalcanti was at the time a central figure of the French avant-garde, but his fascinating career would later find him making pioneering documentaries for John Grierson’s GPO Film Unit in the UK in the 1930s, dramas, noirs, and musicals for Ealing Studios throughout the 1940s, and finally a wide array of films in Brazil, East Germany, France, and Israel in the years before his death in 1982. Douglass Crockwell GLENS FALLS SEQUENCE (1946, 8 min, 16mm) THE LONG BODIES (1947, 6 min, 16mm) Both films preserved by Anthology Film Archives. “The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.” –Douglass Crockwell Total running time: ca. 70 min.

Charles Chaplin CITY LIGHTS 1931, 86 min, 35mm

by Bruce Conner A MOVIE (1958, 12 min, 16mm) COSMIC RAY (1961, 4 min, 16mm) REPORT (1965, 13 min, 16mm) “Conner stands as a kind of twentieth century Pieter Bruegel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience.” –Carl I. Belz, FILM CULTURE COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation’s Avant-Garde Masters Grant program, funded by The Film Foundation. by Tony Conrad THE FLICKER (1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.) “THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium – light itself – to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures.” –Ken Kelman Total running time: ca. 65 min.

Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives. ROSE HOBART ca. 1936/68, 20 min, 16mm CENTURIES OF JUNE 1955, 10 min, 16mm. Photographed by Stan Brakhage. THE AVIARY 1954, 11 min, 16mm. Photographed by Rudy Burckhardt. GNIR REDNOW 1955, 5 min, 16mm. Photographed by Stan Brakhage. NYMPHLIGHT 1957, 8 min, 16mm. Photographed by Rudy Burckhardt. A LEGEND FOR FOUNTAINS 1957/65, 17 min, 16mm. Photographed by Rudy Burckhardt; completed by Lawrence Jordan. ANGEL 1957, 3 min, 16mm. Photographed by Rudy Burckhardt.

by Luis Buñuel & Salvador Dalí In French with English subtitles. “The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.” – Luis Buñuel

(THE FORGOTTEN ONES) by Luis Buñuel In Spanish with English subtitles. “Buñuel shows the sad condition of the poor without embellishing them, because if there is one thing Buñuel hates it is that artificial sweetness imparted to all the poor which we so frequently see in the traditional film. If, as usually happens in motion pictures, the moral principles approved by conventional society are carefully observed by members of the poorest classes…then these principles have some universal validity. However, Buñuel is concerned with exposing the opposite.” –Emilio Garcia Riera, FILM CULTURE “[LOS OLVIDADOS] lashes the mind like a red-hot iron and leaves one’s conscience no opportunity to rest.” –André Bazin

MESHES OF THE AFTERNOON (1943, 14 min, 16mm. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.) AT LAND (1944, 15 min, 16mm, silent. Photographed by Hella Heyman and Alexander Hammid.) A STUDY IN CHOREOGRAPHY FOR CAMERA (1945, 3 min, 16mm, silent. By Maya Deren and Talley Beatty.) RITUAL IN TRANSFIGURED TIME (1946, 15 min, 16mm, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.) “MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change.” –Maya Deren Total running time: ca. 55 min.

(ORPHÉE) by Jean Cocteau In French with English subtitles. “Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.” –Jean Cocteau

by Robert Bresson In French with English subtitles. A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.

With the exception of MOTION PICTURES NO. 1, PAT’S BIRTHDAY, BREATHING, and GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. FORM PHASES I (1952, 2 min, 16mm) FORM PHASES II (1953, 2 min, 16mm) RECREATION (1956, 1.5 min, 16mm-to-35mm) MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent) JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm) EYEWASH (1959, 3 min, 16mm-to-35mm) BLAZES (1961, 3 min, 16mm-to-35mm) PAT’S BIRTHDAY (1962, 13 min, 16mm, b&w) BREATHING (1963, 5 min, 35mm, b&w) FIST FIGHT (1964, 9 min, 16mm-to-35mm) 66 (1966, 5.5 min, 16mm-to-35mm) 69 (1969, 4.5 min, 16mm-to-35mm) 70 (1970, 5 min, 16mm-to-35mm) GULLS AND BUOYS (1972, 8 min, 16mm) FUJI (1974, 9 min, 16mm-to-35mm) “Roughly speaking [Breer’s] works belong to that category of films generally called ‘abstract’ (though his are also highly ‘concrete’), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents.” – Noël Burch, FILM QUARTERLY Total running time: ca. 85 min.

A WOMAN 1915, 20 min, 16mm EASY STREET 1917, 19 min, 16mm THE CURE 1917, 26 min, 16mm PAY DAY 1922, 22 min, 35mm

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

(LE SANG D’UN POÈTE) by Jean Cocteau In French with English subtitles. “Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.” –Georges Sadoul

by Charles Chaplin One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the Little Tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin’s own music and poetic narration, added for the 1942 reissue.

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

The films gathered here all riff on the Western by repurposing, reediting, or manipulating footage – or in the case of THE SONG OF RIO JIM, soundtrack material – taken from classic instances of the genre. Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM 1958, 2 min, 16mm-to-DCP Hans Scheugl SAFETY FILM 1968, 4 min, 16mm Maurice Lemaître THE SONG OF RIO JIM 1978, 6 min, 16mm Peter Tscherkassky INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE 2005, 17 min, 35mm Rebecca Baron & Douglas Goodwin LOSSLESS #3 2008, 10 min, digital John Klacsmann & Walter Forsberg TECHNICOLOR N.G. 2014, 20 min, 16mm, live score

FRAME YOUR FUTURE: SHORT FILMS FROM THE SWEDISH ARCHIVE FOR QUEER MOVING IMAGES (SAQMI) August Joensalo SPACE IS QUITE A LOT OF THINGS 2021, 11 min, DCP Juli Apponen CAR WASH 2018, 5 min, DCP Max Göran FILMING DAD’S ASS WHILE HE’S CHOPPING LOGS WITH HIS CHAINSAW 2018, 23 min, DCP Lasse Långström CRY ALLIANCE OF OUR HATRED 2010, 6 min, DCP Zafira Vrba Woodski I’M CONTINUOUSLY CRYING TEARS OF ESTROGEN AND TEARS OF TESTOSTERONE 2020, 6 min, DCP Anna Linder SPERMWHORE 2016, 12 min, DCP

Davi Pretto FUTURE FUTURE / FUTURO FUTURO Brazil, 2025, 86 min, DCP. In Portuguese with English subtitles. In a bleak near-future Brazil where artificial intelligence has triggered a mysterious neurological crisis, K is a forty-year-old man who has lost both his memory and sense of belonging. Drifting through a desolate unnamed city, shaped by deepening social inequality and technological control, he embarks on an absurd and increasingly tragic search for identity and connection. Blending dystopian science fiction with political allegory, director Davi Pretto’s fourth feature crafts a formally daring vision of a collapsing society haunted by environmental catastrophe, class divisions, and the dehumanizing promises of technological progress. Incorporating artificial intelligence into its own visual language, the film is a hypnotic and cautionary portrait of a world that feels both eerily distant and unsettlingly close.

Tony Ganz THE NEW DEAL 1968, 5 min, 16mm-to-DCP Derek Lamb HOUSEMOVING 1969, 7.5 min, 16mm-to-DCP. Cinematographer and Production Assistant: Tony Ganz. Tony Ganz THE BOARD 1971, 6 min, 16mm-to-DCP Tony Ganz & Rhody Streeter Y.E.S. 1972, 8 min, 16mm-to-DCP Tony Ganz & Rhody Streeter CLAREMONT STABLES 1972, 9 min, 16mm Tony Ganz & Rhody Streeter HUBERT’S 1972, 6 min, 16mm Tony Ganz & Rhody Streeter MUZAK 1972, 5.5 min, 16mm. New restoration courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Tony Ganz & Rhody Streeter BASKIN ROBBINS 1972, 4 min, 16mm Bigan Saliani, Deborah Shaffer, Rhody Streeter, and Bonnie Friedman WILDCAT 1975, 14 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Plus: excerpts from Tony Ganz and Rhody Streeter’s episode of Robert Gardner’s interview program, “Screening Room”.

THE BEST OF YOUR LIFE (aka SUN CITY) 1971, 8.5 min, 16mm-to-DCP HONEYMOON HOTEL 1971, 3.5 min, 16mm-to-DCP RISEN INDEED (aka CAMPUS CRUSADE FOR CHRIST) 1972, 5.5 min, 16mm-to-DCP HOI – VILLAGE LIFE IN TONGA 1967-69, 8.5-min excerpt, 16mm-to-DCP HELP-LINE 1972, 5.5 min, 16mm-to-DCP WOMAN UNLIMITED 1972, 4 min, 16mm-to-DCP SIGN PAINTERS (aka SIGNS) 1972, 6 min, 16mm-to-DCP BOWERY MEN’S SHELTER 1973, 10 min, 16mm-to-DCP A TRIP THROUGH THE BROOKS HOME 1971-73, 7.5 min, 16mm-to-DCP

Robert Downey Sr. GREASER’S PALACE 1972, 91 min, 35mm. Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.

AFA RESTORATION PREMIERE! Robert Downey Sr. GREASER’S PALACE 1972, 91 min, 35mm (Fri-Mon) + DCP (Tues-Thurs). With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche. Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers. Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico). A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser. While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work. “Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme “Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST “A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE

Walter De Maria HARDCORE 1969, 26.5 min, 16mm-to-DCP James Benning DESERET 1995, 82 min, 16mm

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

Andy Warhol HORSE 1965, 105 min, 16mm-to-DCP

Juan Carlos Donoso Gómez HUAQUERO Ecuador/Peru/Romania, 2024, 78 min, DCP. In Spanish with English subtitles. Amid the coastal landscapes of Ecuador and Peru, the debut feature by Juan Carlos Donoso Gómez reconstructs the fragmented memories of former huaqueros – artifact hunters who participated in the illegal excavation and trade of pre-Hispanic objects. Blending documentary and fiction through dramatic reenactments and firsthand testimonies from looters, archaeologists, and counterfeiters, the film explores the tensions between ancestral knowledge, heritage crime, and the enduring wounds of colonialism. Exquisitely shot on washed-out 16mm film evocative of vintage travelogues, HUAQUERO brushes away the dirt of memory to uncover competing versions of truth while remaining deeply rooted in the local perspectives of the communities whose histories have long been excavated, sold, and erased. A meditation on territory, belonging, and memory, the film explores the fragile line between truth and fiction, authenticity, and forgery, reclaiming the contemporary Andean world as a living, contested landscape still haunted by the legacy of colonialism.

Daniel Chile THE LAST GAME / EL ÚLTIMO JUEGO 2026, 24 min, DCP. In Spanish with English subtitles. New York Premiere! Ricardo Vega I LOVE YOU AND I’LL TAKE YOU TO THE MOVIES / TE QUIERO Y TE LLEVO AL CINE 1993, 60 min, DCP. In Spanish with English subtitles.

Takashi Miike ICHI THE KILLER / 殺し屋１ Japan, 2001, 129 min, 35mm-to-DCP. In Japanese with English subtitles.

Danielle Arbid IN THE BATTLEFIELDS / MAAREK HOB 2004, 88 min, DCP. In Arabic with English subtitles. Beirut, 1983. The secret life of 12-year-old Lina (Marianne Feghali) revolves around 18-year-old Siham (Rawya El Chab), her domineering aunt’s maid. In a precarious wartime existence where passion and frustrations overshadow everything, Lina hides and encourages Siham’s clandestine love affairs while Siham shows Lina what her life could be like. But as Lina’s dysfunctional family implodes, class tension, jealousy, and insecurity threaten their vulnerable friendship.

Michael Dibb OMNIBUS: PIG EARTH 1979, 48 min, 16mm-to-DCP Michael Dibb OMNIBUS: PARTING SHOTS FROM ANIMALS 1980, 50 min, 16mm-to-DCP

Joe Pytka LET IT RIDE 1989, 90 min, 35mm-to-DCP Preceded by: Werner Herzog PRECAUTIONS AGAINST FANATICS / MASSNAHMEN GEGEN FANATIKER 1969, 11 min, 16mm-to-DCP. In German with English subtitles. Julia Sipowicz BEAUTIFUL DAY AT THE TRACK 2023, 3 min, DCP

KYOKO KAGAWA RARITIES: Mikio Naruse LITTLE PEACH / ANZUKKO 1958, 109 min, 35mm. In Japanese with English subtitles. This summer Anthology, Asia Society, and The Japan Foundation, New York, join forces for a celebration of the career of actress Kyoko Kagawa, who for the past 75 years has been one of the shining lights of Japanese cinema, delivering indelible performances in films by Mikio Naruse, Yasujiro Ozu, Kenji Mizoguchi, Kozaburo Yoshimura, Akira Kurosawa, Ishiro Honda, Hirokazu Kore-eda, and many others. The five-film series, “Kyoko Kagawa Rarities”, begins with an opening night screening at Anthology, before continuing uptown at Asia Society for the following three days. The opening night event features an exceedingly rare screening of Mikio Naruse’s LITTLE PEACH, described by Chris Fujiwara as both “a masterpiece of Naruse’s elliptical and unemphatic fifties style” and “one of the harshest of Naruse’s female melodramas.” Known for her iconic roles as the little sister or the enduring daughter, Kagawa here lends her tenderness to the beleaguered adult role of wife to a would-be novelist in perpetual collapse. Echoing SOUND OF THE MOUNTAIN in the many walks and talks with the great Sō Yamamura as paternal figure, and in its buoyant bike rides and painful vision of marriage as social fate, the film also gestures at a spiritual afterlife for Ozu’s LATE SPRING. Following this opening night event, “Kyoko Kagawa Rarities” continues at Asia Society through Sunday, August 16, with screenings of FAREWELL TO THE HIGHLAND STATION (Nobuo Nakagawa, 1951), TOKYO RENDEZVOUS (Chihiro Ikeda, 2008), FIVE SISTERS (Seiji Hisamatsu, 1954), and SHOZO, A CAT AND TWO WOMEN (Shiro Toyoda, 1956), featuring imported archival prints and newly translated subtitles. “Kyōko Kagawa Rarities” is programmed by Joseph Eusebio and Akinaru Rokkaku and is a co-presentation of Asia Society, Anthology Film Archives, and The Japan Foundation, New York. Special thanks to Hiroyuki Kojima (Japan Foundation, New York), Inney Prakash (Asia Society), and Shion Komatsu (Toho).

Andy Warhol LONESOME COWBOYS 1968, 109 min, 16mm-to-DCP

Philippe Mora MAD DOG MORGAN 1976, 99 min, 35mm. With Dennis Hopper.

Seijun Suzuki MAN WITH A SHOTGUN / SHOTTOGAN NO OTOKO 1961, 84 min, 35mm-to-DCP. In Japanese with English subtitles.

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

Kelly Reichardt MEEK’S CUTOFF 2010, 104 min, 35mm. With Michelle Williams, Bruce Greenwood, Paul Dano, Will Patton, Zoe Kazan, and Shirley Henderson.

Oliver Laxe MIMOSAS 2016, 93 min, 16mm-to-DCP. In Arabic with English subtitles.

Moustapha Alassane AN ADVENTURER’S HOMECOMING / RETOUR D’UN AVENTURIER 1966, 34 min, 16mm-to-DCP. In Hausa and French with English subtitles. Serge Moati COWBOYS ARE BLACK / LES COWBOYS SONT NOIRS 1966, 15 min, 16mm-to-DCP. In French with English subtitles. Kevin Jerome Everson TEN FIVE IN THE GRASS 2011, 32 min, Super-8mm-to-digital

NORTH AMERICAN PREMIERE – 4K RESTORATION! Kwak Jae-yong MY SASSY GIRL / 엽기적인 그녀 South Korea, 2001, 124 min, 35mm-to-DCP. In Korean with English subtitles.

Jacques Nolot BEFORE I FORGET / AVANT QUE J’OUBLIE 2007, 108 min, 35mm-to-DCP. In French with English subtitles. In the 1970s, Pierre was one of the hottest hustlers in Paris, spending his nights with clients who kept him financially comfortable. But the glory days don’t last forever, and in 2007, where BEFORE I FORGET begins, Pierre’s life is very different. He’s in his 60s, a long-time HIV survivor who struggles with his health and deep financial instability now that his regular benefactors are gone. He finds comfort in going through the motions with young hustlers he hires, and connecting with old colleagues. But the question remains: what will become of him? The final entry in actor-screenwriter-director Jacques Nolot’s “partly autobiographical” trilogy is as unique as it is beguiling, and probably hits different depending on your own place in the gay food chain. Nolot himself saw the film as an important chance to show sides of gay life that few films show, telling Dennis Lim, “The gay community doesn’t appreciate it because it sees itself as always irresistible. I have nothing to do with the typical gay cinema. In fact I’m against it. I choose not to comfort the spectator.” Gays who do appreciate Nolot’s film include iconic director John Waters who called it “the best feel-bad gay movie ever made”, and “brave, funny, gayly incorrect, and smart as a whip,” while Ira Sachs said BEFORE I FORGET “reads like a diary entry and is just as intimate…. The film chronicles…like few films I’ve ever seen, the experience of being alone. The ending is a bravura moment of self-discovery…as defiant a metaphor of queer filmmaking as any I know.”

Alfred Hitchcock STRANGERS ON A TRAIN 1951, 103 min, 35mm. UK “preview” version. For the fourth anniversary of “Narrow Rooms”, curator Adam Baran selects the film that first inspired him to become a cinephile and filmmaker, and no surprise, it’s a dark and twisted thriller with pretty obvious gay overtones. Alfred Hitchcock’s superb 1951 suspense thriller begins with the accidental meeting between tennis player Guy Haines and a stranger named Bruno, who casually suggests the two carry out his “perfect murder” scheme. Bruno will kill Guy’s cheating wife, and Guy can kill Bruno’s hated father. Since the two have no motive or place in each other’s lives, no one would suspect the other person of the crimes. Guy shrugs the idea off as a joke, but when Bruno makes the first move, he insists Guy make good on his end of the bargain, or else! Closeted gay actor Farley Granger, who played gay three years earlier in Hitchcock’s ROPE, and troubled actor Robert Walker are both at their very best in this adaptation of “Talented Mr. Ripley” author Patricia Highsmith’s debut novel. Featuring some of Hitchcock’s most inventive visual sequences, including the jaw-dropping merry-go-round finale, it’s a smorgasbord of queer, cinephilic energy. We’ll also be screening the rarely shown “UK” or “Preview” version, which makes the flirtation between Granger and Walker’s characters even more explicit!

Robert Downey Sr. NO MORE EXCUSES 1968, 46 min, 16mm-to-35mm. Preserved by Anthology Film Archives with support from The Film Foundation. Followed by: ALAN ABEL – PROFESSIONAL MEDIA PRANKSTER 56 min, video

Vytautas Žalakevičius NOBODY WANTED TO DIE / NIEKAS NENOREJO MIRTI 1965, 107 min, 35mm-to-DCP. In Lithuanian and Russian with English subtitles.

Orlando Rojas QUEEN OF THURSDAYS / LA REINA DE LOS JUEVES 2016, 79 min, DCP. In Spanish with English subtitles.

Bruce Baillie QUICK BILLY 1970, 56 min, 16mm. Preserved by Anthology Film Archives. “The essential experience of transformation between Life and Death, death and birth, or rebirth in four reels…” –Bruce Baillie “One of the masterpieces of the American avant-garde…a rare ‘synoptic’ film that tries to construct an entire cosmos. [It] immerses viewers in a timeless flow of indistinct forms that nearly obliterates self and place – the clarity of an erotic encounter ends when the woman leans forward into darkness. The finale is a parody western in which Baillie satirizes the aggression the rest of his film abjures.” –Fred Camper, CHICAGO READER Preceded by: Toney W. Merritt LONESOME COWBOY 1979, 30 sec, 16mm

Frederick Wiseman RACETRACK 1985, 114 min, 16mm

The new film by Pacho Velez [whose previous works include MANAKAMANA (2013); THE REAGAN SHOW (2017); and THE AMERICAN SECTOR (2020)], SEARCHERS approaches the topic of online dating with such genuine curiosity, profound empathy, and self-implicating humility that the film becomes a moving and perceptive meditation on the search both for a partner and for a sense of self. Incorporating the experiences and musings of a culturally, economically, racially, and generationally diverse set of New Yorkers, Velez films his subjects using a variation on Errol Morris’s Interrotron: their computers or phones become something like two-way mirrors, creating an uncanny effect by which the very devices that are so often accused of fostering disconnection are transformed into a means of direct engagement between the interviewees and the viewer. SEARCHERS is a fascinating exploration of the search for companionship in the 21st century, the various strategies of self-expression and -definition that it entails, and the ways these processes are shaped by new technologies. “Velez is fascinated by how people perform the idea of themselves, whether they’re crammed into a gondola suspended hundreds of feet above a wild valley [MANAKAMANA (2013] or swiping through Tinder on their bed in Brooklyn. By focusing his camera on the faces of 30 (or so) app users as they peruse the digital meat market and reflect on their perfect match, Velez allows their phones to become as much of a looking glass as they are a portal. The result of his little experiment is a warm and compulsively watchable movie that flirts with modern ironies (e.g., our dystopian reliance on algorithms to find real human connection) and asks timeless questions (‘u up?’) in order to shine a softer light onto the same tech-era truth that already gave birth to the likes of BLACK MIRROR: What someone is searching for can tell you everything about how they see themselves.” –David Ehrlich, INDIEWIRE Pacho Velez will be here in person for most of the screenings and will be joined in conversation by the following special guests: Fri, Feb 10: Filmmaker and curator Adam Baran, whose short film TRADE CENTER (2021) will screen before SEARCHERS that night. Sat, Feb 11: Devika Girish, writer, programmer, and Co-Deputy Editor of Film Comment. Sun, Feb 12: Filmmaker Caveh Zahedi. Alongside SEARCHERS, we’ll be screening three thematically related films: Adam Baran TRADE CENTER (Fri, Feb 10 at 7:30, preceding SEARCHERS) Wendy Clarke LOVE TAPES (Sat, Feb 11 at 5:00) Caveh Zahedi I AM A SEX ADDICT (Sun, Feb 12 at 5:00) FILMMAKER IN PERSON! Adam Baran TRADE CENTER 2021, 9 min, digital TRADE CENTER shines a spotlight on the hidden history of the former World Trade Center as a cruising destination for men seeking men. Using the voices of five gay men who cruised for sex at the World Trade Center in the 1980s and 90s, the film deftly explores the legacy of those spaces, setting them against the sanitized, rebuilt Freedom Tower. In the tradition of Samuel R. Delany’s classic memoir, “Times Square Red, Times Square Blue” (1999), TRADE CENTER is a paean to both the vanished sites of a previous era as well as the interpersonal and social relationships they fostered. Fri, Feb 10 at 7:30 (preceding SEARCHERS)

Stephen Chow SHAOLIN SOCCER / 少林足球 2001, 127 min, 35mm. In Cantonese and Mandarin with English subtitles.

Oldřich Lipský SODA POP JOE / LIMONÁDOVÝ JOE ANEB KONSKÁ OPERA 1964, 84 min, 35mm-to-DCP. In Czech with English subtitles.

Paul Schneider SOMETHING SPECIAL (WILLY/MILLY) 1986, 86 min, 35mm

Alex Cox STRAIGHT TO HELL (director’s cut) 1987/2010, 91 min, 35mm-to-DCP

Maggie Greenwald THE BALLAD OF LITTLE JO 1993, 121 min, 35mm. With Suzy Amis, Bo Hopkins, and Ian McKellen.

Lina Wertmüller & Piero Cristofani THE BELLE STARR STORY / IL MIO CORPO PER UN POKER 1968, 103 min, 35mm-to-DCP. In Italian with English subtitles. With Elsa Martinelli.

Adolfas Mekas THE DOUBLE-BARRELLED DETECTIVE STORY 1965, 90 min, 35mm-to-DCP. Restored by the Royal Belgian Film Archive. Adolfas’s second feature film was this adaptation of a Mark Twain short story. Hatfield is a carpetbagger who marries the daughter of a prominent plantation owner in order to humiliate him. He mistreats his wife, but she stoically refuses to complain to her father. Finally, he ties her to a tree and lets bloodhounds tear off her clothes. The girl’s father dies of embarrassment, and, shortly thereafter, she gives birth to a son who grows up and heads west to avenge his mother.

Jenni Olson THE JOY OF LIFE 2005, 65 min, 16mm-to-DCP

Stanley Kubrick THE KILLING 1956, 84 min, 35mm

Dennis Hopper THE LAST MOVIE 1971, 108 min, 35mm. Archival print courtesy of the Academy Film Archive.

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.

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.

Alain Tanner THE SALAMANDER / LA SALAMANDRE 1971, 127 min, 35mm-to-DCP. In French with English subtitles.

Bartek Dziadosz, Colin MacCabe, Christopher Roth, and Tilda Swinton THE SEASONS IN QUINCY: FOUR PORTRAITS OF JOHN BERGER 2015, 93 min, DCP. Original score by Simon Fisher Turner.

Franz Josef Gottlieb THE SEVENTH VICTIM (aka THE RACETRACK MURDERS) / DAS SIEBENTE OPFER 1964, 93 min, 35mm-to-DCP. In German with English subtitles.

Monte Hellman THE SHOOTING 1966, 82 min, 35mm. With Millie Perkins, Jack Nicholson, Will Hutchins, and Warren Oates. Archival print courtesy of the Academy Film Archive.

Ben Rivers THE SKY TREMBLES AND THE EARTH IS AFRAID AND THE TWO EYES ARE NOT BROTHERS 2015, 98 min, 16mm-to-DCP. In Arabic, Spanish, and French with English subtitles.

FILMMAKER IN PERSON! Ricardo Bacallao THE UNCLE’S REQUEST 2026, 85 min, DCP. In English and Spanish with English subtitles.

This expertly written and mounted drama eavesdrops on four men awaiting execution on death row. In their final hours, as they contemplate the nature of fate, their stories are juxtaposed against the tale of the crucifixion, with the men appearing in flashback biblical scenes that replicate key events in their present-day lives.

Raúl Francisco Dorticós THE WALKER 2025, 70 min, DCP. In Spanish with English subtitles.

György Szomjas THE WIND BLOWS UNDER YOUR FEET / TALPUK ALATT FÜTYÜL A SZÉL 1976, 90 min, 35mm-to-DCP. In Hungarian with English subtitles.

Arturo Ripstein TIME TO DIE / TIEMPO DE MORIR 1966, 90 min, 35mm-to-DCP. In Spanish with English subtitles.

James Benning UTOPIA 1998, 93 min, 16mm Preceded by: Adison Norbury CLOSE TO THE KNIVES 2025, 1 min, 8mm-to-DCP

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

Robert Kramer WALK THE WALK 1996, 115 min, 35mm-to-DCP. In French with English subtitles.

Barbara Loden THE FRONTIER EXPERIENCE 1975, 25 min, 16mm-to-DCP Charles Burnett THE HORSE 1973, 14 min, 16mm. Preservation print courtesy of the UCLA Film & Television Archive. Blackhorse Lowe SHIMASANI 2009, 15 min, 35mm-to-DCP. In Navajo with English subtitles. Blackhorse Lowe METAL BELT 2023, 14 min, 16mm-to-DCP. In Navajo and Spanish with English subtitles.

Vladimir Motyl WHITE SUN OF THE DESERT / BELOE SOLNTSE PUSTYNI 1970, 85 min, 35mm-to-DCP. In Russian with English subtitles.

Craig Baldwin WILD GUNMAN 1978, 20 min, 16mm Charles I. Levine HORSEOPERA (A WESTERN) 1970, 24 min, 16mm

Sheila Paige WOMEN’S HAPPY TIME COMMUNE 1972, 47 min, 16mm. Preserved with support from the Women’s Film Preservation Fund. Archived at Anthology Film Archives.

Pang Ho-cheung YOU SHOOT I SHOOT / 買兇拍人 Hong Kong, 2001, 94 min, 35mm-to-DCP. In Cantonese with English subtitles.

George Englund ZACHARIAH 1971, 93 min, 35mm-to-DCP