LEISURE 1966, 10 min, 16mm PORTRAIT OF RAMONA 1971, 25 min, 16mm THE SUNSHINE SISTERS 1972, 36 min, 16mm

TALES OF THE BRONX 1970, 16 min, 16mm DIDGERIDOO 1972, 10 min, 16mm FARAWAY PLACES 1974, 9.5 min, 16mm FABLE FOR A NEW AGE 1984, 30 min, 16mm TONE POEM 1984, 6 min, 16mm

XMAS 1987 NEW YEARS 1987, 12.5 min, video THE HOLIDAY XMAS VIDEO OF 1991 1991, 21 min, video LUMPS OF JOY 2004, 14 min, video HOLIDAY HANG 2006 2006, 10 min, video FRIGID ESCAPADES 2007, 10 min, video THE UNMENTIONABLES 2009, 14.5 min, video

Harun Farocki A DAY IN THE LIFE OF A CONSUMER / EIN TAG IM LEBEN DER ENDVERBRAUCHER 1993, 44 min, DCP. In German with English subtitles. “Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers, mixing different colors, periods, and various ‘ideologies of well being’ to hold up a mirror to our times, values, worries, hopes. This collage of ‘beautiful images,’ gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humor in the tradition of Brechtian distanciation.” –Andrei Ujica Preceded by: Andrew Lampert BENETTON 2004, 4.5 min, 16mm-to-digital, silent Nam June Paik & Jud Yalkut WAITING FOR COMMERCIALS 1966-72 1992, 6.5 min, video Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT 1996-2003, 13 min, 35mm

Radu Jude & Christian Ferencz-Flatz EIGHT POSTCARDS FROM UTOPIA / OPT ILUSTRATE DIN LUMEA IDEALĂ 2024, 71 min, DCP. In Romanian with English subtitles. This found-footage documentary is assembled exclusively out of post-socialist Romanian advertisements. Drawing from the debris of Romania’s long transition period, the film speaks about love and death, the human body and its frailty, the natural and the supernatural, and of course, socialism and capitalism. Bouncing between found poetry and an outdated encyclopedia, between trash art and Summa theologiae, EIGHT POSTCARDS sees Jude teaming up with philosopher Christian Ferencz-Flatz to make another hilarious and unforgiving take down of meta capitalist mythology.

This program collects pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products. Walter Ruttmann DER SIEGER 1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek. Walter Ruttmann DAS WUNDER 1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek. Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN 1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream. Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE 1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek. Julius Pinschewer & Guido Seeber FILM (KIPHO) 1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek. Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG 1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek. Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER 1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung. Oskar Fischinger CIRCLES / KREISE 1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency. Oskar Fischinger MURATTI GETS IN THE ACT 1934, 3 min, 16mm. Ad for Muratti Cigarettes. Oskar Fischinger MURATTI PRIVAT 1935, 2 min, 16mm. Ad for Muratti Cigarettes. László Moholy-Nagy, György Kepes, and Sybille Pietzsch (uncredited contributors) under the direction of Egon von Tresckow DER FEINSCHMECKER 1934, 2 min, 35mm-to-digital, silent. Ad for Jena Glass. Len Lye KALEIDOSCOPE 1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum. Len Lye THE BIRTH OF A ROBOT 1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum. Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK 1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague. Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU 1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague. Alexander Hammid & Elmar Klos THE HIGHWAY SINGS / SILNICE ZPÍVÁ 1937, 4 min, 35mm. Ad for Bata tires. Preserved by Anthology Film Archives. Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM 1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary. Gyula Macskássy & György Szénásy LIGHT / FÉNY 1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.

This program of post-WWII advertisements encompasses striking commissioned films by experimental film- and video-makers like Jordan Belson, Peter Kubelka, Pat O’Neill, Chick Strand, Dara Birnbaum, and Jeff Preiss, and art-house giants such as Ingmar Bergman, Jean-Luc Godard, David Lynch, and David Cronenberg, and throws in appearances from Frank Zappa, John Waters, and Father Guido Sarducci for good measure. John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] 1982, 40 sec, 35mm Mark Shepard [EZTV No smoking PSA] ca. 1985, 30 sec, video Ingmar Bergman BRIS SOAP COMMERCIALS [selection] 1951, 6.5 min, 35mm-to-DCP. Courtesy of the Swedish Film Institute. Oskar Fischinger MUNTZ TV 1953, 1.5 min, 16mm. Ad for Muntz TV. Jordan Belson CHRONICLE 1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive. Len Lye RHYTHM 1957, 1 min, 16mm, b&w. Commissioned (but rejected) by Chrysler. Peter Kubelka ADEBAR 1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar. Peter Kubelka SCHWECHATER 1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier. Anonymous Commercials for d-c-fix and INKU GF-Kante 1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum. Dwinell Grant PEPSI-COLA-COMMERCIAL 1960, 1 min, 16mm. Preserved by Anthology Film Archives. Paul Bartel THE SUBJECT WAS WRINKLES 1960s, 7.5 min, 16mm-to-digital Ed Seeman & Frank Zappa [Luden’s Cough Drops ad] 1967, 1 min, video Pat O’Neill, Neon Park, and Chick Strand SEARS SOX 1968, 5 min, 16mm. Commissioned by Sears department stores. Print courtesy of the Academy Film Archive. Karpo Godina [Zastava 101 ads] ca. 1975, 1.5 min, video Karpo Godina [Koloy’s Spearmint Chewing Gum ad] ca. 1970s, 1 min, video Dara Birnbaum REMY/GRAND CENTRAL: TRAINS AND BOATS AND PLANES 1980, 4 min, video. Commissioned by Remy Martin. George Manupelli & William Farley FATHER GUIDO SARDUCCI ON ART SCHOOL 1982, 1 min, video. Ad for the San Francisco Art Institute. Dara Birnbaum MTV: ARTBREAK 1987, 30 sec, video David Daniels [ABC promo – Michael Jackson] 1987, 12 sec, video David Daniels [Honda Scooter ad] 1988, 30 sec, video David Daniels [IDIOT BOX opening sequence] 1990, 30 sec, video David Daniels [Clearasil ad] 1995, 30 sec, video M. Henry Jones & Tom Marsan [America’s Best Contacts and Eyeglasses commercial] 1990, 30 sec, video Jean-Luc Godard [Closed Jeans ads] 1987/88, 2 min, video Jean-Luc Godard [Nike Air 180 ad] 1991, 15 sec, video Jean-Luc Godard [Schick Aftershave ad] 1991, 1 min, video Jean-Luc Godard [Parisienne People Cigarettes ad] 1992, 45 sec, video. Co-directed by Anne-Marie Miéville. David Cronenberg [Nike Air 180 ad] 1990, 30 sec, video David Cronenberg [Caramilk ad] 1990, 30 sec, video David Lynch [Georgia Coffee ads] 1991, 2 min, digital David Lynch [Michael Jackson Dangerous Short Films intro] 1991, 30 sec, digital David Lynch [Adidas the Wall ad] (1993, 1 min, digital) David Lynch [Sci Fi Channel interstitials] 1997, 1 min, digital David Lynch PARISIENNE PEOPLE 1998, 1 min, digital. Ad for Parisienne cigarettes. David Lynch [Playstation 2 ad] 2000, 1 min, digital David Lynch [David Lynch Coffee ad] 2011, 4 min, digital Jeff Preiss NIKE: JOEL / HIPPIES 1993, 1 min, 16mm-to-digital Jeff Preiss CHERRY COKE: RUGBY 1998, 1 min, 16mm-to-digital Jeff Preiss YELLOW PAGES: TOUR / CRITIC / GREEN ROOM 1998, 2 min, 16mm-to-digital

Celeste Rojas Mugica AN OSCILLATING SHADOW / UNA SOMBRA OSCILANTE Chile, 2024, 72 min, DCP. In Spanish with English subtitles. “A game played by two – a father and a daughter. This game, involving chemicals in a film lab, becomes a bridge between two generations who understand and experience photography in very different ways. Will they be able to understand each other? Will they reconnect after the scars of a violent national history, exile, and complex family dynamics? Artist Celeste Rojas Mugica crafts a hybrid, first-person film that reconstructs, with singular humor and a precise touch, the memory of her father amid the political violence of Chile’s dictatorship. Winner of the Jury Special Mention at FIDMarseille 2024, AN OSCILLATING SHADOW embraces the ontology of cinema to explore how images from the past can still illuminate our present selves – especially within our most intimate and sensitive circles.” –Matías Piñeiro

In contrast to the previous works in the series, which comprise films or advertisements sponsored by various companies or industries, this program consists of films made independently by artists that engage with or intervene in advertising. The first section showcases the rare but fascinating instances in which artists (such as Richard Serra, Carlotta Schoolman, Chris Burden, Lynn Hershman Leeson, and Stan Douglas) have actually purchased TV airtime for their own purposes, as well as finding room for works like Vito Acconci’s ELECTION TAPE ’84, Muntadas’s THIS IS NOT AN ADVERTISEMENT, and Harun Farocki’s MUSIC-VIDEO, which were displayed on public advertising billboards. The second part of the program finds artists making films that adopt the form of ads or otherwise satirize or critique advertising. 1. Buying time (artists buying their own advertising time): Richard Serra & Carlotta Schoolman TELEVISION DELIVERS PEOPLE 1973, 6.5 min, video Chris Burden THE TV COMMERCIALS 1973-1977 1973-77/2000, 4 min, video Lynn Hershman Leeson COMMERCIAL FOR MYSELF 1978, 46 sec, video Vito Acconci ELECTION TAPE ’84 1984, 2 min, video Muntadas THIS IS NOT AN ADVERTISEMENT 1985, 5 min, video Stan Douglas TELEVISION SPOTS 1987-88, ca. 5 min, video Harun Farocki MUSIC-VIDEO / MUSIKVIDEO 2000, 1 min, video 2. Films that adopt the format/language of ads: Joan Logue 30 SECOND PORTRAITS: NEW YORK ARTISTS 1982, 15 min, video. Made in collaboration with the artists. Thom Andersen MELTING 1965, 6 min, 16mm Michael Smith MIKE 1987, 3.5 min, video Valie Export A PERFECT PAIR 1987, 13.5 min, video Kristin Lucas INFORECEPTOR 1994, 5 min, digital Tony Cokes AD VICE 1999, 6.5 min, digital Ilana Harris-Babou REPARATION HARDWARE 2018, 4 min, digital

BLACK PANTHER aka OFF THE PIG (Newsreel #19) 1968, 15 min, 16mm-to-DCP MAY DAY PANTHER aka MAY DAY (Newsreel #29) 1969, 15 min, 16mm-to-DCP BOBBY SEALE aka INTERVIEW WITH BOBBY SEALE (Newsreel #44) 1969, 15 min, 16mm-to-DCP EITHER OR 1970, 11 min, 16mm-to-DCP

BRADLEY EROS / JEANNE LIOTTA: MEDIAMYSTICS SOMA SEMA 1988, 13 min, Super 8mm-to-16mm OPEN SESAME 1989, 7 min, video fungus eroticus 1990, 30 min, Super 8mm-to-16mm DERVISH MACHINE 1992, 10 min, Super 8mm-to-16mm + EROS/LIOTTA/MEDIAMYSTICS WITH CIRCLE X 1988-92, 6.5 min, video + SUBVERTED HORSEPLAY (Chamber piece for projectors) 1994-97, ca. 20 min, live performance! + 35mm analog original slides from 1988-98

EROS & OTHERS: COLLABORATIONS 1 With Aline Mare / Erotic Psyche (1983-87): VENUS TO PENIS 1983, 14 min, video PYROTECHNICS 1985, 10.5 min, Super-8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation. With Richard Sylvarnes/Vampÿrates: 27 APHORISMS FOR JONAS 2019, 5.5 min, digital BELA LUGOSI’S DEAD (VAMPŸRATES) 2021, 11 min, digital With Tim Geraghty: TRANSTRANS (TRANSFORMERS TRANSFORMED) 2009, 12 min, digital {HOUDINI} SÉANCE {THE TRAILER} 2016, 4 min, digital. Shot by Sebastien Sanz de Santamaria. EAU DE CINEMA {THE AVANT AD} 2014, 2 min, 16mm-to-digital With Lili Chin: AERODYNAMICS OF THE BLACK SUN 2006, 6 min, 16mm-to-digital With Qianqi Zhang: X-RAY EROS 2025, 3.5 min, digital, silent + Other works with Circle X, Optipus, Robert Beck Memorial Cinema, Arcana Project, HPSCHD, including Brian Frye, Joel Schlemowitz, Lary Seven, LeLe Dai, Marie Losier, Bruce Witsiepe, and Jeanne Liotta (ca. 20 min) + 35mm analog original slides from 1980-2025

EROS & OTHERS: COLLABORATIONS 2 With Aline Mare / Erotic Psyche (1983-87): ELECTRAMORPHIC 1987, 11 min, Super 8mm-to-16mm. New print by Anthology Film Archives! With Richard Sylvarnes/Vampÿrates: 27 APHORISMS FOR JONAS 2019, 5.5 min, digital DAHLIA NOIR (VAMPŸRATES) 2022, 11 min, digital With Tim Geraghty: EROS C’EST LAMOUR 2008, 8 min, digital {HOUDINI} SÉANCE 2010, 16 min, digital. Shot by Sebastien Sanz de Santamaria. EAU DE CINEMA {THE AVANT AD} 2014, 2 min, 16mm-to-digital With Lili Chin: RITE OF THE BLACK SUN 2005, 10.5 min, 16mm-to-digital With Qianqi Zhang: X-RAY EROS 2025, 3.5 min, digital, silent + Other works with Circle X, Optipus, Robert Beck Memorial Cinema, Arcana Project, HPSCHD, including Brian Frye, Joel Schlemowitz, Lary Seven, LeLe Dai, Marie Losier, Bruce Witsiepe, and Jeanne Liotta (ca. 20 min) + 35mm analog original slides from 1980-2025

EROS.ION: SOLO WORKS OSMOSIS 1972-2002, 10.5 min, Super-8mm-to-16mm AURORA BOREALIS 2002, 12 min, 16mm DELIQUESCENCE 2002, 8 min, 16mm SPIDERY 2002, 9 min, 16mm BURN (OR, THE 2ND LAW OF THERMODYNAMICS) 2004, 5 min, digital MUTABLE FIRE! 1984, 7.5 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation. HYSTÈRY 1985, 11 min, Super 8mm-to-digital + A selection of very rare, early original Super-8mm films (1969-74), transferred to digital, possibly including: LIMP 1969, 3 min A WING IS A WOMB OF LAUGHTER 1970-1971, 9 min BLINK! 1971, 3 min SONG OF THE WOMB 1972, 4 min THE ANXIOUS CREATURE 1973, 11 min THE SKIN OF DREAMS 1974, 15 min + A selection of 35mm analog original slides (1969-2025)

FLICKERING LIGHT 1983-84, 3.5 min, analog-video-to-digital LINGCHI – ECHOES OF A HISTORICAL PHOTOGRAPH 2002, 21 min, Super-16mm-to-digital DYSFUNCTION NO. 3 1983 (restored 2017), 10.5 min, 8mm-to-digital

FACTORY 2003, 31 min, Super-16mm-to-digital REALM OF REVERBERATIONS 2014, 60 min, digital

NOTES ON THE TWELVE KARMAS 1999-2000/18, 8 min, digital WORN AWAY 2022-23, 70 min, digital

This program pairs Jonas Mekas’s FILM MAGAZINE OF THE ARTS – commissioned by Show Magazine, but rejected for containing no references to the magazine itself – with films made for various school systems by Bruce Baillie and Chick Strand; Robert Breer’s PBL #2 (a cartoon history of the black American for broadcast on the NET network); Cathryn Aison and Philip Glass’s SESAME STREET segment, GEOMETRY OF CIRCLES; and Jerome Hiler and Nathaniel Dorsky’s LIBRARY, a moving and lovely paean to New Jersey’s Sussex County Library. Jonas Mekas FILM MAGAZINE OF THE ARTS 1963, 20 min, 16mm. Preserved by Anthology Film Archives. Bruce Baillie HERE I AM 1962, 11 min, 16mm. Preserved by Anthology Film Archives. Bruce Baillie THE BROOKFIELD RECREATION CENTER 1964, 6 min, 16mm. Preserved by BAMPFA, 2012. Chick Strand CHILDREN ARE OUR FIRST PRIORITY 1972, 12.5 min, 16mm. Print courtesy of the Academy Film Archive. Robert Breer PBL #2 1968, 1 min, 16mm Cathryn Aison & Philip Glass GEOMETRY OF CIRCLES 1979, 2.5 min, digital. Commissioned by SESAME STREET. Jerome Hiler & Nathaniel Dorsky LIBRARY 1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.

Hans Richter’s THE NEW APARTMENT – produced for a Swiss architectural and interior design exhibition to promote modern approaches to design – is paired here with travel- and tourism-themed films by the great experimental animators Len Lye and Norman McLaren, the trippy bicentennial animation 200, and a fascinating film designed to promote the city of Pittsburgh (on the occasion of its own bicentennial), which was made with contributions from photographer Weegee, avant-garde filmmakers Stan Brakhage, Lye, and Stan Vanderbeek, and photographers W. Eugene Smith and Willard Van Dyke. Hans Richter THE NEW APARTMENT / DIE NEUE WOHNUNG 1930, 28 min, 35mm-to-DCP. Commissioned by Schweizerischer Werkbund (SWB). Len Lye COLOUR FLIGHT 1938, 4 min, 35mm-to-DCP. Commissioned by Imperial Airways. Len Lye SWINGING THE LAMBETH WALK 1939, 4 min, 35mm. Commissioned by the British Tourist and Industrial Development Association. Print courtesy The Museum of Modern Art, New York. Len Lye LIFE’S MUSICAL MINUTE 1953, 2 min, 35mm-to-DCP Norman McLaren NEW YORK LIGHTBOARD RECORD 1961, 9 min, 35mm-to-DCP PITTSBURGH 1959, 28 min, 16mm-to-DCP. Produced by On Film Co. Vince Collins 200 1975, 3 min, 16mm-to-DCP

FREE SCREENING! DAY WITH(OUT) ART 2025: MEET US WHERE WE’RE AT Since 1989, Visual AIDS – a New York based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy – has mobilized art institutions for Day With(out) Art. A day of mourning and action that uses art to respond to the ongoing HIV and AIDS crisis, Day With(out) Art encourages universities, museums, art institutions, and AIDS organizations to present related programming on or around World AIDS Day, which falls on December 1. This year, Visual AIDS has organized “Meet Us Where We’re At”, a program of six videos that forefront the experiences of drug users and harm reduction practices as they intersect with the ongoing HIV crisis. Commissioned videos by artists in Puerto Rico, Brazil, Nigeria, Germany, and Vietnam journey across a range of spaces revealing the complexity of drug use. Harm reduction has long been central to the AIDS activist movement through practices like needle exchange and safe injection sites, and people who use drugs have been affected by HIV since the earliest days of the epidemic. This program brings their perspectives to the forefront, amplifying the voices of drug users as storytellers, cultural producers, and essential participants in the global response to HIV. The artists in this program were selected by a jury of artists/community workers including Eva Dewa Masyitha, Heather Edney, charles ryan long, and Leo Herrera. Visual AIDS is a New York-based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over. For more info, visit: visualaids.org Kenneth Idongesit Usoro VOICES OF RESILIENCE Hoàng Thái Anh THE SISTER’S JOURNEY Gustavo Vinagre & Vinicius Couto THE PASSION ACCORDING TO G.H.B Camilo Tapia Flores REALCE (HIGHLIGHT) Camila Flores-Fernández GHOST IN THE PARK José Luis Cortés ¿POR QUÉ TANTO DOLOR? (WHY SO MUCH PAIN?)

“Based on the short story ‘The Racer’ by Ib Melchior, DEATH RACE 2000 is set in a post-apocalyptic USA in the year 2000, where various contestants are preparing to take part in the homicidal, coast-to-coast road rally, the Transcontinental Road Race, which is watched avidly by the entire nation. Themed cars, echoing professional wrestling personas, include Frankenstein (driven by star David Carradine), Calamity Jane (Mary Woronov), Machine Gun Joe (Sylvester Stallone), Matilda the Hun, and Nero the Hero – a Roman gladiator-style vehicle. Watch for a road-kill cameo from John Landis.” –David Savage

“The second and final collaboration between Pabst and Louise Brooks is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her.” –Thomas Gladysz

In her haunting debut feature, Mexican filmmaker and visual artist Sofía Peypoch returns to the site of her kidnapping, undertaking a visceral excavation of memory beneath the earth’s surface. Through intimate, tactile gestures – her hands probing the soil alongside others replicating this chimerical act – the film weaves personal trauma with ancestral history, positioning the earth as an unyielding witness that refuses to forget. Combining film, photography, ceramic sculpture, and found objects, Peypoch crafts a sensory meditation on memory as a living, mutable space where past and present converge. EARTH ALTARS intricately explores how archaeology lends historical depth to intimate trauma, creating a profound dialogue between personal and collective histories.

“Paul and Mary Bland (Paul Bartel and Mary Woronov), a married couple stuck in the 1950s who sleep in twin beds, hit upon a scheme to murder classified-ad swingers in order to put a down payment on the upscale country restaurant of their dreams. Their plan is discovered by a Chicano thief (Robert Beltran), who not only wants in, but wants Mary – and wants Paul out of the way, permanently. Bartel’s exploration of race and class in Los Angeles is told in cartoon-like tones, echoing his roots in animation. Bartel’s most acclaimed film, it set the bar for his sophisticated, subversive, eccentric comic vision of American society.” –David Savage

(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.

“Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5 REVERBERATION (1969, 23 min, 16mm) SERENE VELOCITY (1970, 23 min, 16mm, silent) & STILL (1971, 54 min, 16mm. Preserved by Anthology Film Archives.) Total running time: ca. 105 min.

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.

GEORGE & MIKE KUCHAR All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation. I WAS A TEENAGE RUMPOT 1960, 10 min, 8mm-to-16mm George and Mike here stumbled upon something big: their names were Arline, Edie, and Harry. A documentary about people like you and me, people with a zest for life. PUSSY ON A HOT TIN ROOF 1961, 14 min, 8mm-to-16mm “It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.” –George Kuchar SYLVIA’S PROMISE ca. 1962, 9 min, 8mm-to-16mm “Love comes in all sizes, but in this case love needs to diet! Sylvia makes a promise, but can she keep it?” –George Kuchar BORN OF THE WIND 1962, 24 min, 8mm-to-16mm “A tender and realistic story of a scientist who falls in love with a mummy he has restored to life… 2,000 years as a mummy couldn’t quench her thirst for love!” –George Kuchar TOOTSIES IN AUTUMN 1963, 15 min, 8mm-to-16mm A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. Total running time: ca. 75 min. [I WAS A TEENAGE RUMPOT, SYLVIA’S PROMISE, and BORN OF THE WIND are not part of the Essential Cinema collection, but are included here as a special bonus.]

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.

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 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

SPECIAL SCREENING / READING EXTRIGUE at Anthology Recall this scene from Billy Wilder’s 1944 classic DOUBLE INDEMNITY: While listening to his boss (Edward G. Robinson) enumerate the ways a person might die by accident, lovestruck insurance rep Walter Neff (Fred MacMurray) alights on a nearly perfect plot for murder. Shiv Kotecha’s 2015 book-length poem EXTRIGUE, takes a similarly actuarial approach, obliterating the plot, sound, and banter of Wilder’s noir in order to showcase the infinity of ways in which language strives to describe what’s seen. All 419 shots of Wilder’s film are rendered into a procedural of glinting objects and part-objects, warping shadows, and twisted shafts of light: “345. A FLAME THAT FADES INTO A PHONE A MAN THAT FADES INTO A MAN A LAMP THAT FADES INTO A BOOK SMOKE THAT FADES INTO A HAT.” Marking ten years since the book’s publication, “EXTRIGUE at Anthology” pairs a new recut of Wilder’s film – slowed to the sludging pace of Kotecha’s written account – with a live marathon reading of the book by the author, friends, and admirers, obviating our need to recall or describe any one thing for the trembling present tense of the cinematic screen.

JEANNETTE RANKIN BRIGADE (Newsreel #4) 1968, 8 min, 16mm-to-DCP UP AGAINST THE WALL MS. AMERICA (Newsreel #22) 1968, 6 min, 16mm-to-DCP SHE’S BEAUTIFUL WHEN SHE’S ANGRY (Newsreel #48) 1969, 16 min, 16mm-to-DCP MAKE-OUT (Newsreel #49) 1970, 5 min, 16mm-to-DCP CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) 1970, 20 min, 16mm-to-DCP

THE WOMAN’S FILM (Newsreel #55) 1971, 43 min, 16mm-to-DCP JANIE’S JANIE 1971, 25 min, 16mm-to-DCP

Marta Mateus FIRE OF WIND / FOGO DO VENTO 2024, 74 min, DCP. In Portuguese with English subtitles. Distributed by The Cinema Guild. The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward. “The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI “Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus.

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

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

Harun Farocki EVERYBODY A BERLINER KINDL / JEDER EIN BERLINER KINDL 1966, 4 min, 16mm-to-DCP “[This film] deals with advertising for Berliner Kindl, a local beer. It is a matter of the act of self-refutation, an act which is, however, far more than an ironically positioned, merely aesthetic ‘gesture’ – it is evidently related to the manner in which one approaches politics, political speeches and political semiotics.” –Klaus Kreimeier THE APPEARANCE / DER AUFTRITT 1996, 40 min, 16mm-to-DCP. In German with English subtitles. “Farocki once again takes us into the world of advertising. An advertising agency has to pitch a marketing concept to an optician’s consortium, represented by the manager who is the first to see the campaign. The logo submitted, ‘Eyedentity’, is examined from every angle: it must simultaneously express both the company’s dynamism and its reliability! A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.” –Jörg Becker STILL LIFE / STILLEBEN 1997, 56 min, 16mm-to-DCP. In German with English subtitles. According to Farocki, today’s photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life – the “still life”. The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary “still life”: a cheese-board, beer glasses, and an expensive watch.

The directorial debut of both Joe Dante and Allan Arkush, this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!

THE CASE AGAINST LINCOLN CENTER (Newsreel #17) 1968, 12 min, 16mm-to-DCP BREAK AND ENTER aka SQUATTERS (Newsreel #62) 1971, 42 min, 16mm-to-DCP

The films included here were designed to promote and celebrate the still-novel technology of radio broadcasting. Most were commissioned by the Dutch company Philips Radio, which produced numerous promotional films, in various countries and by numerous different filmmakers, throughout the 1930s and beyond, many of them strikingly experimental in form. Hans Richter EUROPA RADIO 1931, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of the Deutsche Kinemathek. Hans Richter FROM LIGHTNING TO TELEVISION / VAN BLIKSEMSCHICHT TOT TELEVISIE 1936, 29 min, 35mm-to-DCP. Commissioned by Philips Radio. Digitally restored by EYE Filmmuseum, and screened with the permission of Royal Philips / Philips Company Archives. Karel Dodal & Irena Dodalová THE WIZARD OF TONES / ČARODĚJ TÓNŮ 1936, 1.5 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague. Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR 1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague. George Pal THE BALLET OF RED RADIOVALVES 1938, 2.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives. George Pal THE SHIP OF THE ETHER 1936, 7.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives. Jószef Misik KERMESSE FANTASTIQUE 1951, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives. Joop Geesink THE TRAVELLING TUNE 1962, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.

These films focus mainly on then-novel communications technologies, including magnetic tape, new postal methods, and above all, computing (and its potential for creating new kinds of imagery). Reflecting the radical nature of these technologies, the sponsored films included here adopt highly experimental approaches to sound, image, and editing. Charles & Ray Eames A COMMUNICATIONS PRIMER 1953, 22 min, 35mm-to-DCP Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND 1959, 21 min, 35mm-to-DCP Edgar Reitz COMMUNICATION / KOMMUNIKATION – TECHNIK DER VERSTÄNDIGUNG 1961, 11 min, 35mm-to-DCP. Commissioned by the German Post Office. Bernard Longpré TEST 0558 1965, 4 min, 16mm-to-DCP John Whitney, Sr. EXPERIMENTS IN MOTION GRAPHICS 1968, 12 min, 16mm Raymond Brousseau & Bernard Longpré DIMENSION SOLEILS 1970, 4 min, 16mm-to-DCP Lillian Schwartz PIXILLATION 1970, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford. Lillian Schwartz & Ken Knowlton UFOS 1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford. Lillian Schwartz ENIGMA 1972, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.

When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.

“Pabst’s adaptation of the Pierre Benoit novel is far rarer, and far odder, than the better-known silent version by Jacques Feyder. Lieutenant de Saint-Avit tells his tale of a city peopled by a strange race, the meeting of a dapper Parisian friend therein, and the mysterious, goddess-like creature Antinéa (Brigitte Helm), who reigns over the land. The film was shot partly in North Africa, but like Josef von Sternberg’s ‘locations,’ it offers a highly artificial world, at once sensual and dazzling, yet coolly filmed through a scrim of social and psychological observation.” –BAMPFA

MILL-IN aka THE CHRISTMAS MILL-IN (Newsreel #6) 1967, 12 min, 16mm-to-DCP GARBAGE aka GARBAGE DEMONSTRATION (Newsreel #5) 1968, 10 min, 16mm-to-DCP UNION aka OIL STRIKE aka RICHMOND OIL STRIKE (Newsreel #25) 1969, 17 min, 16mm-to-DCP WILMINGTON (Newsreel #30) 1970, 15 min, 16mm-to-DCP PA BELL GO TO HELL 1971, 3 min, 16mm-to-DCP FELIX REVOLTS aka FELIX THE CAT 1968, 7 min, 16mm-to-DCP

Toshio Matsumoto, Genichiro Higuchi, and Masao Yabe BICYCLE IN DREAM / GINRIN 1955, 12 min, 35mm-to-DCP. Music by Tôru Takemitsu. Commissioned by the Japan Bicycle Promotion Institute. Courtesy of the National Film Archive of Japan (NFAJ). “Toshio Matsumoto began his filmmaking career by planning, cowriting, and assistant-directing GINRIN, an astonishingly experimental PR film commissioned by the Japan Bicycle Promotion Institute. His collaborators on the project were Shozo Kitadai and Katsuhiro Yamaguchi, members of Japan’s postwar collective Jikken Kobo, the composer Toru Takemitsu and the special effects creator Eiji Tsuburaya, who would go on to do the same for the GODZILLA series.” –Taro Nettleton, ART REVIEW Toshio Matsumoto THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU 1960, 13 min, 35mm-to-DCP. Commissioned by Kansai Electricity. “A short history of the development of Japan’s energy supply after the war, commissioned by the energy company Kansai and made as a stylistically heterogeneous blend of animations, veristic observations, etc.” –INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN Ed Emshwiller FUSION 1967, 16 min, 16mm-to-DCP. Commissioned by Spring Mills. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts. “A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels.” –Ed Emshwiller

Steeped in irony, MADE IN HOLLYWOOD depicts the personal and cultural mediation of reality and fantasy, desire and identity, by the myths of television and cinema. Quoting from a catalogue of popular styles and sources, from TV commercials to THE WIZARD OF OZ, the Yonemotos construct a parable of the Hollywood image-making industry from a pastiche of narrative clichés: A small-town ingenue goes West to find her dream and loses her innocence; the patriarch of a Hollywood studio nears death; a New York couple seeks screenwriting fame and fortune in the movies. With deadpan humor and hyperbolic visual stylization, the Yonemotos layer artifice upon artifice, constructing an image-world where reality and representation, truth and simulation, are meaningless distinctions.

“A world dominated by Technology is lost for Liberty.” –George Bernanos These three films resurrect the vital force of poetic existence against technocracy. With rare sculptural potency, these works materialize absences in order to render them sensory. António Reis JAIME 1974, 35 min, 35mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema. Pedro Costa OUR MAN / O NOSSO HOMEM 2010, 25 min, DCP. In Portuguese with English subtitles. Jean-Marie Straub FRANCE AGAINST THE ROBOTS / LA FRANCE CONTRE LES ROBOTS 2020, 10 min, DCP. In French with English subtitles.

Marta Mateus BARBS, WASTELANDS / FARPÕES, BALDIOS 2017, 25 min, DCP. In Portuguese with English subtitles. “Mateus’s debut film announced her bold visual style and poetically multi-voiced approach to political narrative with its rich evocation of a community filtered through the sun-drenched lens of a workday in an Alentejo summer and collective memories of the Carnation Revolution. Labor and play musically intermingle as children rush hither and thither and the elders recall past struggles that still echo in the present day.” –Haden Guest, HARVARD FILM ARCHIVE Preceded by: Manoel de Oliveira BREAD / O PÃO 1963, 23 min, 35mm. In Portuguese with English subtitles. Print preserved by Cinemateca Portuguesa – Museu do Cinema. “BREAD follows the birth and life of a loaf, from the wheat fields to the bakery. ‘The idea for this film is that bread is like a current in a river that goes through different places, different hands…,’ explained Oliveira.” –Haden Guest, HARVARD FILM ARCHIVE

History is full of authority figures who, under the guise of moral propriety, impose restrictive rules to control the masses. Resisting them are those who, embracing risky vulnerability, rise up to free themselves from the entrenched power structures. The protagonists of these three films commit the heresy of exalting an ethical commitment to the freedom of the spirit and its creative strength. Marked by an exceptional empathy for the inner movement of characters whose presences are physically constrained, all three concise cinematographic transgressions blur our gaze from the surface and anchor us in the depths of the space and time of thought. Robert Bresson THE TRIAL OF JOAN OF ARC / PROCÈS DE JEANNE D’ARC 1962, 65 min, 16mm. In French with English subtitles. Danièle Huillet & Jean-Marie Straub EN RACHÂCHANT 1982, 7 min, 35mm. In French with English subtitles. Chantal Akerman SAUTE MA VILLE 1968, 13 min, 16mm-to-DCP

Moving backward to the early days of cinema, we start from more distant beginnings: from when stars, birds, trees, winds, seeds, mountains and magicians shared the same language and dialogue with the same alphabet of life; from life at its origins. Life is wise – always announcing, acting, speaking, revealing things we don’t know, things we have forgotten. When ignoring the hidden causes behind the “chance” events in life, one might call them mere coincidence, or if with fatalistic mysticism, a blessing or a malediction. What power do human laws have over the laws of nature and the universe? In these three films, trade and speculation among ourselves – and the unknown forces in our lives – only go so far. Each film dramatizes the intervention of contrasting laws in the course of the characters’ destinies. The program gradually explores different formal styles and tones – conjuring senses of the real and ways of organizing the process of reality through fiction. Jean Rouch LES MAGICIENS DE WANZERBÉ 1948, 38 min, 16mm. In French with English subtitles. Restoration CNC © CNRS – CFE. Reginald Le Borg WEIRD WOMAN 1944, 63 min, 16mm. With Lon Chaney Jr. D.W. Griffith A CORNER IN WHEAT 1909, 14 min, 16mm, silent

On April 25, 1974, the Carnation Revolution brought down forty-eight years of dictatorship in Portugal. Under the revolutionary commotion, filmmakers and numerous emerging militant film production units dedicated their work to listening to the real country, while actively intervening in the revolution they were recording. Although with different orientations and aesthetic inclinations, all productions from that period are traversed by political, social, cultural, and economic upheavals and formally express, with greater or lesser degrees of evidence, a subversion of the previously established order with a new freedom of discourse – no longer under the gaze of the dictator and the censorship previously imposed on Portuguese cinema. After filming the large rallies in the city of Lisbon, the attention shifted to the rural areas. Several film crews moved from the urban fabric to the countryside to make films with and for the people. Two films made during the revolutionary period focused on the symbolic and effective appropriations carried out by the people. Both films in this program have been digitized by Cinemateca Portuguesa – Museu do Cinema, under the scope of the Recovery and Resilience Plan. A measure integrated into the Next Generation EU program. Ana Hatherly REVOLUÇÃO 1975, 12 min, 16mm-to-DCP. In Portuguese with English subtitles. Grupo Zero THE LAW OF THE LAND / A LEI DA TERRA 1977, 67 min, 35mm-to-DCP. In Portuguese with English subtitles.

Woronov’s performing career was born in Warhol’s Factory. Becoming an integral part of the Factory scene and of Warhol’s group of “superstars” in 1966, Woronov appeared onstage as part of the Exploding Plastic Inevitable show, and on screen in several of Warhol’s “Screen Tests” and numerous of his films, including THE CHELSEA GIRLS, HEDY, RICHARD AND MARY, and others. KISS THE BOOT documents the “whip dance” that she and Gerard Malanga performed as part of EPI, while HEDY presents the adventures of Hedy Lamarr, as she receives a face-lift, is arrested for shoplifting, and goes on trial to face the accusations of her five former husbands. Mario Montez gives one of his most outstanding performances in the title role and the Velvet Underground contributes a live score, while Woronov makes a memorable appearance as the policewoman who apprehends the sticky-fingered Hedy. This program also includes the short film she made in this period with Warhol’s assistant and collaborator, Gerard Malanga: MARY FOR MARY (1966). Andy Warhol HEDY 1966, 66 min, 16mm-to-DCP Preceded by: Andy Warhol KISS THE BOOT 1966, 4 min, 16mm-to-DCP, silent Gerard Malanga MARY FOR MARY 1966, 16 min, 16mm-to-DCP

Andy Warhol QUEEN OF CHINA (HANOI HANNA) 1966, 66 min, 16mm-to-digital. Scenario by Ronald Tavel. With Mary Woronov, Susan Bottomly, Angelina “Pepper” Davis, and Ingrid Superstar. “QUEEN OF CHINA (HANOI HANNA) – which was incorporated into Warhol’s hugely successful, three-hour-plus, two-screen film, THE CHELSEA GIRLS – based on Ronald Tavel’s scenario, loosely refers to the real-life radio show host who broadcast antiwar propaganda to American soldiers in Vietnam. It is Mary Woronov’s showcase piece, in which she metes out physical and psychological abuse to Susan Bottomly, Angelina ‘Pepper’ Davis, and Ingrid Superstar in a room at the Chelsea Hotel. At first, the cast tries to accurately adhere to Tavel’s scenario, but by reel two it all falls apart—the performers begin to use their real names and exhibit a sort of residual stress disorder that permeates the rest of the film.” –MUSEUM OF MODERN ART Preceded by: Andy Warhol MARY WORONOV SCREEN TEST (ST357) 1966, 4 min, 16mm-to-DCP, silent Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: MARY WORONOV 2009-2011, 4 min, digital [Documentation of John Vaccaro’s “Conquest of the Universe”] ca. 1967, ca. 15 min, 16mm-to-DCP, silent

This program celebrating the launch of MFJ No. 82 “Real Life” consists of works discussed in the issue. These films and their accompanying texts are attempts to understand an increasingly convoluted world, in which images are not just a reflection of reality, but part of its very substance. Programmed by Grahame Weinbren, Vince Warne, and Jonathan Ellis. The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit https://millenniumfilmjournal.com/donations/donation-form/ Open Group REPEAT AFTER ME 2024, 17 min, digital Samy Benammar ADIEU UGARIT 2024, 15 min, 16mm-to-digital Claudia Hart MEMORY THEATER 2 2022-25, 5 min, digital Mike Hoolboom RAIN 2025, 3 min, digital Mike Hoolboom WHITE HARLEM 2024, 10 min, digital Tomonari Nishikawa SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS 2014, 2 min, 35mm Undertime Slopper SELECTED WORKS 2025, 5 min, digital John Smith BEING JOHN SMITH 2024, 27 min, digital

Paul Vecchiali ENCORE 1988, 87 min, 35mm-to-DCP. In French with English subtitles. It’s 1978 and Louis (Jean-Louis Rolland) is living a mundane life with a job, a wife, and a daughter. One day, an unexpected sexual encounter helps Louis realize he’s gay. He comes out, leaves his family, and over the next ten years pursues love and sex with the reckless intensity of a besotted teenager. Director Paul Vecchiali’s ENCORE is an emotionally complex story about a flawed, messy, gay protagonist experiencing a sexual awakening during the AIDS epidemic. Each new scene unfolds via bravura long takes and moves the story forward one year, making the film a beguiling marriage of theatrical and cinematic techniques. Wistful musical numbers, in the vein of Jacques Demy’s UNE CHAMBRE EN VILLE and Chantal Akerman’s GOLDEN EIGHTIES, complete Vecchiali’s visionary narrative. ENCORE was the first commercial French film to deal with HIV/AIDS, and Vecchiali’s refusal to turn his protagonist into a “perfect victim” sets it apart from other similar dramas of this and later eras. Rarely screened, it's ripe for rediscovery by gay and queer audiences.

Alain Guiraudie MISERICORDIA 2024, 103 min, DCP. In French with English subtitles. When his former boss dies, Jérémie (Félix Kysyl) travels to the picturesque village of Saint-Martial to pay his respects to the Rigal family. But while the widow Rigal seems comforted by Jérémie’s presence, her son Vincent is immediately suspicious of him. As the days go by, and Jérémie shows no inclination to leave, Vincent grows increasingly agitated, leading to a series of events that turn the homecoming tale into a wicked thriller in the vein of Alfred Hitchcock, Claude Chabrol, and Patricia Highsmith. Mushrooms, a kindly old priest, and a sneaky cop play a part in the narrative, but to say more would spoil the devious pleasures of this critically acclaimed gay suspense yarn from director Alain Guiraudie (STRANGER BY THE LAKE). Famed French film mag Cahiers du Cinéma named MISERICORDIA the best film of 2024, and it’s sure to land on many American critics’ Best-of-2025 lists by the end of this year. Will it make it on to yours?

The night before Benjamin is set to leave his small town to start his gay porn career in L.A., his best friend Dom ropes him into smuggling contraband across the Canadian border for extra cash. But it’s not any ordinary drug run. The two men are forced to swallow strange insect grubs encased in condoms. It’s said if these bugs bite you, some experience pleasure while others experience pain. But the danger of carrying these lethal larvae in their intestines pales in comparison to the threat posed by the vicious man at the center of the whole smuggling operation. When we showed Carter Smith’s groundbreaking 2006 gay horror short BUGCRUSH in March, the audience was so freaked out that we decided to screen Smith’s nightmarish semi-sequel, SWALLOWED, set in the same universe but with completely different characters played by Emmy nominee Cooper Koch (MONSTERS: THE LYLE AND ERIK MENENDEZ STORY), Jose Colon, Jenna Malone (DONNIE DARKO), and legendary gay actor Mark Patton, best known for his starring role in the gay NIGHTMARE ON ELM STREET sequel FREDDY’S REVENGE. We’ll be joined by one of SWALLOWED’s biggest fans – film and theater critic Kyle Turner – to introduce this evening’s spooky season screening.

Details to be announced.

PRESENTED BY CINEMATOGRAPHER ANDRZEJ JAROSZEWICZ! Andrzej Żuławski ON THE SILVER GLOBE / NA SREBRNYM GLOBIE 1988, 166 min, 35mm-to-DCP. In Polish with English subtitles. This very special screening of Andrzej Żuławski’s magnum opus, ON THE SILVER GLOBE (1988), will be presented in person by its cinematographer, acclaimed DOP and longtime Żuławski collaborator Andrzej Jaroszewicz! “Żuławski’s masterpiece, the almost indescribable ON THE SILVER GLOBE, was begun in Poland in the 1970s, and shot on locations ranging from the Gobi Desert to the Crimea to the Baltic coast. He said this science-fiction allegory was too anti-clerical even for the country’s Communist authorities, who, claiming he had exhausted the budget, shut down production. A decade later Żuławski assembled the surviving material, restaged some scenes with new actors, and added documentary footage of late-’80s Poland. The result, which ultimately surfaced in 1988, is a majestic ruin. Comparable for sheer weirdness to David Lynch’s DUNE, ON THE SILVER GLOBE shows astronauts marooned on the Moon contending with rival species, including telepathic humanoid birds, amphibious mud people and their own mutated descendants. As always, Żuławski is an inspired orchestrator of tumult; the rabid crowd scenes in this primordial pageant might have been played by the Living Theater at its acid-ripped height. ON THE SILVER GLOBE is outsider art on a huge scale.” –J. Hoberman, NEW YORK TIMES Co-presented by the Polish Cultural Institute New York.

Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.

Angela Christlieb PANDORA’S LEGACY / PANDORAS VERMÄCHTNIS 2024, 89 min, DCP. In German with English subtitles. The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst. “Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt. Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films.

Marie Losier PEACHES GOES BANANAS 2024, 73 min, DCP Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.

César González PLEBEIAN ULYSSES / ULISES PLEBEYO Argentina, 2024, 68 min, digital. No dialogue. “Prolific Argentine filmmaker and poet César González has been crafting one of the most original and groundbreaking bodies of work in contemporary Argentine cinema. Yet, far too little of it has been screened in the U.S. – and it’s time to change that. González has authored books of poetry, novels, and essays on cinema, that depict life on the margins of society – a life he has lived and continues to live intensely. This experience resonates deeply in each of his films. PLEBEIAN ULYSSES is his most experimental work to date. A collage, an agitprop travelogue, a kaleidoscope of sounds and images – it seeks to awaken the beauty of everyday life in a world the middle class has been taught not to see, but to fear. Filmmaker Lucrecia Martel has described his work as ‘a modest sewer through which the ideas with which we mask our privileges seep.’ PLEBEIAN ULYSSES is a patchwork of contrasting fragments that bloom like the sharp petals of a copper shiny rose.” –Matías Piñeiro

THE HAIGHT (Newsreel #21) 1968, 6 min, 16mm-to-DCP PIG POWER (Newsreel #23) 1968, 6 min, 16mm-to-DCP YIPPIE 1968, 12.5 min, 16mm-to-DCP RIOT CONTROL WEAPONS (Newsreel #9) 1968, 6 min, 16mm-to-DCP AMERICA aka AMERIKA 1969, 30 min, 16mm-to-DCP

POUND, an adaptation of Downey’s own off-off Broadway play THE COMEUPPANCE, is a truly outlandish parable about dogs (played by many of his regular actors) facing “death or adoption” within an animal shelter. Based solely on the box-office success of PUTNEY SWOPE, POUND was produced and distributed by United Artists, who had allegedly assumed it was going to be an animated film. Rated X and too strange for mainstream tastes, the film was a resounding commercial failure for the studio, an experience that ensured Downey would remain a Hollywood outsider for years to come.

This program pays tribute to the sponsored film category of the Public Service Announcement, with several works (by Hans Richter, Len Lye, and Norman McLaren) made during WWII, as well as Carl Dreyer’s anti-speeding cautionary tale, THEY CAUGHT THE FERRY, Niki de Saint Phalle and her son Philip Mathews’s ads raising awareness about AIDS, David Lynch’s anti-littering spot, and more. Hans Richter INFLATION 1928, 3 min, 35mm-to-DCP. Courtesy of the Deutsche Kinemathek. Len Lye MUSICAL POSTER NO. 1 1940, 3 min, 35mm. Print courtesy of the Austrian Filmmuseum. Len Lye KILL OR BE KILLED 1942, 18 min, 35mm. Print courtesy of the Austrian Filmmuseum. Len Lye NEWSPAPER TRAIN 1942, 6 min, 35mm-to-DCP Len Lye WORK PARTY 1942, 7 min, 35mm-to-DCP Norman McLaren V FOR VICTORY 1941, 2 min, 35mm-to-DCP Norman McLaren FIVE FOR FOUR 1942, 3 min, 35mm-to-DCP Norman McLaren KEEP YOUR MOUTH SHUT 1944, 3 min, 35mm-to-DCP Carl Th. Dreyer THEY CAUGHT THE FERRY / DE NÅEDE FÆRGEN 1948, 11 min, 35mm. Print courtesy of the Austrian Filmmuseum. Philip Mathews, Niki de Saint Phalle, and Silvio Baranoun AIDS (Public Service Announcements) 1990, 4 min, video. Directed by Philip Mathews and animated by Steve Dovas, Barbara Nislick, and Tony Luamaco. Based on the book “AIDS: You Can’t Catch It Holding Hands”. Tom Rubnitz SUMMER OF LOVE PSA 1990, 30 sec, video David Lynch WE CARE ABOUT NEW YORK 1991, 1 min, digital. Commissioned by the New York Dept of Sanitation. Jeff Preiss JACKSON SONG 1990, 2 min, 16mm-to-digital. Commissioned by Burger King. Rachael Guma EXTRA ULTRA SUPER GAL 2024, 3.5 min, DCP Pat Lehman DRUG ABUSE 1972, 1 min, video Cliff Roth THE REAGANS SPEAK OUT ON DRUGS 1988, 7 min, video-to-16mm

The unexpected underground success of Downey’s no-budget feature CHAFED ELBOWS (1966), composed mostly of stills, caught the attention of an advertising production company who hired him “to try experimental stuff,” as he later put it. Inspired by his experiences working within the industry, Downey wrote PUTNEY SWOPE (1969), an uproarious and deeply subversive swipe at the advertising world – and at capitalism in general. PUTNEY was a surprise hit on the art-house circuit leading to extended runs and praise from critics and viewers alike and remains Downey’s best-known film today. In the film, an advertising agency’s only Black executive is unexpectedly voted chairman, at which point he institutes a series of radical reforms while rebranding the agency “Truth and Soul, Inc.” Downey seamlessly edited standalone commercial parodies throughout the film, which would inspire future sketch comedies like “Mr. Show” and “Kids in the Hall”.

“Remote Viewing” is a screening program that examines how contemporary artists employ moving images to render psychic phenomena, altered states of perception, and metaphysical dimensions of consciousness. Grounded in the strategies of experimental cinema, the selected works draw on trance, telepathy, memory fracture, and ritual transformation, reconceiving the screen not as a passive surface, but as a psychic interface through which time, voice, and identity are disassembled and reconfigured into new perceptual architectures. The title references “remote viewing,” a Cold War-era term for extrasensory perception conducted across distance. While formalized within military and parapsychological research during the 1970s, its conceptual lineage extends further, entwined with modern psychology, hypnotic trance, spirit communication, occult practice, and early scientific inquiries into the unconscious. Reframed here as both historical reference and curatorial metaphor, it positions consciousness as a medium that traverses spatial, temporal, and affective thresholds. This program presents a focused selection from the forthcoming exhibition at MoNTUE, Taipei (2026), featuring works by Tony Oursler, Ho Tzu Nyen, Sky Hopinka, Jeremy Shaw, and Hsu Che-Yu, among others. Guest-programmed by Alice, Nienpu Ko. Tony Oursler HELENE SMITH 2024, 8 min, digital Ho Tzu Nyen O FOR OPIUM 2023, 12.5 min, digital Sky Hopinka I’LL REMEMBER YOU AS YOU WERE, NOT AS WHAT YOU’LL BECOME 2016, 12.5 min, digital Jeremy Shaw LIMINALS 2017, 31.5 min, digital Hsu Che-Yu CATASTROPHISM 2025, 13 min, digital. In Mandarin with English subtitles.

“As new principal Miss Togar (Mary Woronov) says, ‘The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!’ Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote ‘Rock ‘n’ Roll High School’ and ‘I Want You Around’ for the soundtrack. (Dee Dee complained that Arkush made them look ‘like Martians.’)” –Rachel Churner

“Written with LA novelist-screenwriter Bruce Wagner, SCENES is Bartel’s answer to the bed-hopping French farce, updated for the age of DYNASTY and LIFESTYLES OF THE RICH AND FAMOUS. Jacqueline Bisset stars as Clare, a TV actress with a career stuck in re-runs and a freshly buried husband who died of auto-erotic strangulation. Her next-door neighbor, Lisabeth (Mary Woronov) is recently divorced. The two women decide that what they need most at this moment in their lives is to sleep with each other’s manservants (Ray Sharkey and Robert Beltran), who, meanwhile, have made a sexual wager of their own. Complicating matters is the sudden appearance of Lisabeth’s brother (Ed Begley, Jr.) who shows up with a new bride, To-Bel von Cartier (Arnetia Walker).” –David Savage

This program showcases the hallucinatory video work of Mexican artist Sergio Hernández Francés (1964-95), whose experimentation across theater, cinema, music, and new media influenced a generation of artists in Mexico. Making ample use of chromakey, collage, and a psychedelic sensibility, works like SUEÑO DE SERPIENTE and LOKOPHONIA helped establish Mexico City’s experimental video scene and are among the most striking early artistic responses to the AIDS crisis in Mexico. Despite his influence, Hernández Francés’s work has rarely been seen since his death from AIDS-related complications in 1995. The work in this program was rescued by video art pioneer Ximena Cuevas as part of her acclaimed compilation Los Archivos X and is being reintroduced today through the efforts of artist Jorge Bordello. This screening is presented in collaboration with Visual AIDS, in tandem with the Third Annual Visual AIDS Research Symposium at the Museum of Modern Art on October 24. With an introduction by Jorge Bordello. SERPENT’S DREAM / SUEÑO DE SERPIENTE 1991, 8 min, analogue-video-to-digital DEADLY SINS / PECADOS CAPITALES 1993, 9 min, analogue-video-to-digital AH CABALA VIDA 1993, 6 min, analogue-video-to-digital LOKOPHONIA 1991, 11 min, analogue-video-to-digital

WOMEN’S FILM PRESERVATION FUND PRESENTS: SEX, GENDER AND FEMINISM Founded in 1995, the Women’s Film Preservation Fund of New York Women in Film and Television is the only program in the world dedicated to preserving the cultural legacy of women in the industry through preserving films made by women. Since its founding, the WFPF has preserved over 150 women-led films, including works by early feminists, women of color, social activists, and artists that represent a unique and irreplaceable part of our nation’s cultural legacy. On the occasion of its 30th anniversary, the WFPF has curated a program – comprising 1960s-90s experimental films preserved through its efforts – that explores themes of second wave feminism, gender identity, and sexuality. This program is part of WFPF of New York Women in Film and Television’s milestone anniversary series, celebrating 30 years of preserving women’s cinematic history; for more info visit: https://www.nywift.org/wfpf/ Liane Brandon SOMETIMES I WONDER WHO I AM 1970, 5 min, 16mm-to-DCP. U.S. preservation premiere! Anne Chamberlain A FEMINIST FILM 1988, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. Preservation premiere! Anne Chamberlain PRE-MENSTRUAL 1992, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. Preservation premiere! Susan Brockman DEPOT 1974, 11 min, 16mm Geri Ashur & Peter Schlaifer MAKE OUT 1970, 5 min, 16mm. Voiceover script: Geri Ashur, Andrea Eagan, Marcia Salo Rissi, and Deborah Shaffer. Jan Oxenberg HOME MOVIE 1973, 12 min, 16mm-to-DCP Rachel Reichman A CHILD’S INTRODUCTION TO THE WONDERS OF SPACE 1979, 12 min, 16mm Lisa Crafts DESIRE PIE 1976, 5 min, 16mm-to-35mm Margaret Conneely MISTER E. 1960, 11.5 min, 16mm

In SILENT NIGHT, BLOODY NIGHT, a man arrives in a small town in order to sell his family mansion – a former insane asylum – only to find it occupied by an axe-wielding madman bent on revenge against the town elders. Co-produced by Lloyd Kaufman (just two years before he would launch Troma Entertainment), featuring legendary character actor John Carradine, and marking Woronov’s second collaboration with her then-husband Theodore Gershuny, SILENT NIGHT, BLOODY NIGHT is a slasher film that plays like an underground, art cinema take on the genre. And no wonder, given the involvement of Gershuny (whose first film was the 1966 experimental short AMERICAN ROULETTE) and Woronov, who were presumably responsible for casting half of the bit parts with their Warhol Factory associates, including Candy Darling, Ondine, Tally Brown, and Jack Smith!

Bruce & Norman Yonemoto SPALDING GRAY’S MAP OF L.A. 1984, 27 min, video The Yonemotos collaborated with performance artist Spalding Gray and actors Mary Woronov and Marshall Efron on this satire of the mythology of Los Angeles, juxtaposing a parodic fictional narrative with Gray’s autobiographical monologues. The ironic re-enactment of the New York artist’s encounter with the excess of Los Angeles focuses on the Southern Californian obsession with cars as cultural and consumer icons. Bruce & Norman Yonemoto KAPPA 1986, 26 min, video. Made in collaboration with Mike Kelley. Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Buñuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film.

Stan Phillips COLORADO LEGEND 1961, 11 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado. Stan Phillips BALLAD OF THE COLORADO UTE 1963, 17 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado. “Educational/informational films made as commissioned works for the Colorado Department of Public Relations through Western Cine, which was a film laboratory (and Brakhage’s primary lab), but also a production company for educational films for an unknown period in the early 1960s. Although directed by Brakhage’s longtime friend Stan Phillips, Brakhage is credited with ‘photography, editing, and pictorial direction’, and the films bear some hallmarks of his personal style.” –Mark Toscano Stan Brakhage MR. TOMPKINS INSIDE HIMSELF 1962, 41 min, 16mm. Print courtesy of the Academy Film Archive. “An educational film made by Brakhage with Western Cine owner John Newell (who also photographed much of the film), based on ‘Mr. Tompkins Learns the Facts of Life’ by George Gamow. Although some of the medical and scientific footage in this film was obtained from separate sources, there is a credit stating ‘Microphotography of Vessels of Living Bat’s Wing, Mouse Lung, Red Blood, Slides, and Photography of Internal Heart of Sheep and External Heart of Living Dog by Stan Brakhage and George Gamow’. Some of this footage was also used by Brakhage in DOG STAR MAN.” –Mark Toscano

RESTORATION PREMIERE! STICKS AND BONES 1973, 105 min, 2”-videotape-to-DCP. Restored by Anthology Film Archives. Special thanks to Gus Powell and Maurice Schechter. Joseph Papp, who hailed GREASER’S PALACE as “a masterpiece” and “a classic to be seen again and again,” offered Downey a slot in his newly contracted CBS series for which he was to produce thirteen feature-length teleplays. Using largely the same crew from GREASER’S, Downey adapted and directed David Rabe’s award-winning anti-Vietnam War play STICKS AND BONES. Instead of shooting it on film and then transferring it to video for broadcast, as was standard practice, Downey insisted on shooting the whole thing on new video technology: 2” Quad videotape. Believing the teleplay was too controversial, at the last minute CBS indefinitely postponed airing it. When they eventually broadcast it five months later, half of the affiliate stations refused to carry it (an unprecedented move for the time). Outraged, Papp canceled his entire series contract over CBS’s actions, which he called “a cowardly cop-out and a rotten affront to freedom of speech.” STICKS AND BONES was thought to survive only on badly dubbed U-Matic videotapes with burned-in timecode, but a 2” master videotape belonging to cinematographer Peter Powell was recently discovered and subsequently preserved by Anthology, and we’re delighted to premiere the restoration as part of this series.

Alta Leigh was an attractive young model with the future in her hands…until her pornographer boyfriend, George, tricked her into committing “suicide” on camera. Devastated by the incident, Alta’s lover, Camilla, hatches a bizarre plot to avenge her death: find an exact lookalike of Alta to drive George insane. Starring the iconic Mary Woronov, former Belgian beauty queen Monique van Vooren, Warhol acolyte Ondine, and produced by Oliver Stone, SUGAR COOKIES is arthouse exploitation with a heady mix of Hitchcock mystery and Paul Bartel weirdness.

“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA

The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.

THREE PORTRAITS BY LUCAS KANE FILMMAKER IN PERSON! This program showcases a series of shorts by NYC filmmaker and theater director Lucas Kane (b. 1993). Kane’s materialist approach to the form situates aesthetics as part of the larger socio-political struggles taking place across different registers of cultural production, movement, and time. From the George Floyd Uprising encampment at City Hall to a fight for housing in Brooklyn, Kane’s work traces the mass demands for police abolition, the animated spirit of neighbor and painter Jacob Eye, and the building of resistance against an anti-Black state that forcefully maintains property. His most recent moving-image work, THREE SONGS FOR PETER BROOK – an assemblage-in-progress of Super-8mm diary notes, 16mm archival footage, and meditations on the legacy of a legendary theater director – is at once existential and grounded in the framework of an art worker, as it documents Kane’s world travels and other experiences working as Brook’s assistant director. Kane will be in attendance and will perform a live reading alongside THREE SONGS FOR PETER BROOK, with an introduction and post-screening conversation led by Lily Jue Sheng. IMPRESSIONS OF RESISTANCE AND ERASURE 2021, 3 min, Super-8-to-16mm JACOB’S HOUSE 2025, 21 min, 16mm THREE SONGS FOR PETER BROOK work-in-progress, 24 min, Super-8 and 16mm-to-digital

AFA MEMBERS ONLY – FREE SCREENING! JACQUES TATI’S ‘TRAFIC’ Anthology’s Members-Only screenings feature sneak-previews of upcoming features, programs of rare materials from Anthology’s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, and discounted AFA publications. But with these screenings – free, open only to members, and including special receptions – we sweeten the pot even further. For the next Members-Only event, we present a rare 35mm screening of Jacques Tati’s penultimate feature film, TRAFIC (1971), from a print newly acquired by Anthology. Become a member at our box office, or at anthologyfilmarchives.org Special thanks to Margaux Chalançon (Specta Films CEPEC). Jacques Tati TRAFIC 1971, 97 min, 35mm. In French with English subtitles. In TRAFIC, the bumbling Monsieur Hulot, kitted out as always with tan raincoat, beaten brown hat, and umbrella, takes to Paris’s highways and byways. In this, his final outing, Hulot is employed as an auto company’s director of design, and accompanies his new product (a “camping car” outfitted with absurd gadgetry) to an auto show in Amsterdam. Naturally, the road there is paved with modern-age mishaps. This late-career delight is a masterful demonstration of the comic genius’s expert timing and sidesplitting knack for visual gags, and a bemused last look at technology run amok.

Highly personal and at the same time completely illogical, this cacophonous comedy (also known as MOMENT TO MOMENT, and even as JIVE) has virtually no semblance of a storyline or plot. The great Elsie Downey, the director’s then-wife and the mother of his children (who are featured prominently throughout), drives the film with her boisterous performance in what may very well be more than ten roles. Shot and edited piecemeal over a few years, TWO TONS… is a collage of everything from staged scenes to home movies, and features a soundtrack by the legendary Jack Nitzsche and David Sanborn.

Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.

SPECIAL SCREENING – FILMMAKER IN PERSON! Ali Khamraev WITHOUT FEAR / BEZ STRAKHA 1971, 96 min, 35mm-to-DCP. In Russian with English subtitles. This fall, Anthology joins forces with Asia Society to celebrate the work of the towering Uzbek filmmaker Ali Khamraev. Thanks to Asia Society’s initiative, Khamraev will be traveling to the U.S., for the series “Eastern Notions: Films by Ali Khamraev”, the first NYC program fully dedicated to his work. Anthology will host the opening night of the series, with a screening of Khamraev’s beloved 1971 feature WITHOUT FEAR, which captures a symbolic clash between Soviet and Islamic cultures, focusing on a 14-year-old girl who decides to be the first in her village to drop the veil and chador after urging by a visiting commissar. Following this opening night event, the series will move uptown to Asia Society, which will present screenings from Friday, November 21 through Sunday, November 23 of Khamraev’s more rarely-screened works, WHITE WHITE, STORKS (1966), THE SEVENTH BULLET (1973), MAN FOLLOWS BIRDS (1976), and I REMEMBER YOU (1985), featuring Q&As with Khamraev and actress Gulcha Tashbayeva. “If there is a giant who sits astride the history of Uzbek cinema, it’s Ali Khamraev, one of those rare talents like Welles or Godard or Scorsese whose love for the medium is so intense that his best films burst with criss-crossing energies and insights, like a fireworks display.” –Kent Jones For more info about the Asia Society screenings visit: asiasociety.org/nyfilm