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

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

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

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

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

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

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

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

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

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

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

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

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

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

by Alexandr Dovzhenko (1928-29, 87 min, 35mm, silent. With Russian intertitles; English synopsis available.) “An epic canvas covering Ukrainian history from WWI to the Russian Civil War, as experienced in Kiev, and culminating in fighting around the arsenal in the heart of the city. Dovzhenko essentially uses a static camera, but with much use of montage and cross-cutting. […] Where Dovzhenko is clearly distinctive, however, is his placing of human events against the majestic backdrop of nature, in particular the sky. Man and nature are one, as a dying Bolshevik asks his comrades to transport and bury him in his native soil.” –David C. Gillespie, EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA

(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

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

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

Charles Chaplin CITY LIGHTS 1931, 86 min, 35mm

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

(VREDENS DAG) by Carl Th. Dreyer (1943, 100 min, 35mm. In Danish with English subtitles.) “Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael

by Alexandr Dovzhenko (1929-30, 82 min, 35mm, silent. With Russian intertitles; English synopsis available.) A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.

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.

by Carl Th. Dreyer (1964, 119 min, 16mm. In Danish with English subtitles.) “GERTRUD is as towering a master work in the narrative sound cinema as Brakhage’s THE ART OF VISION is in the nonnarrative cinema. Every detail, every motion, every word in GERTRUD has its right place, its own voice, and contributes to the whole and is beautiful. […] Every generation states its own position on love. GERTRUD is Dreyer’s statement on love, and it is pure, radiant, and perfect, like a ring.” –Jonas Mekas, MOVIE JOURNAL

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.

(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.

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

by 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

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

by Carl Th. Dreyer (1924, 89 min, 16mm, silent. With German intertitles; English synopsis available.) Shot by the great German cinematographers Karl Freund and Rudolph Maté, MICHAEL concerns the unconsummated love between a painter and his manipulative, larcenous model. The Danish director Benjamin Christensen stars as artist Claude Zoret, modeled in part after Rodin, whose irrepressible love finds its most complete expression in his last painting.

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 Carl Th. Dreyer (1955, 132 min, 35mm. In Danish with no subtitles; English synopsis available.) A farmer’s family is torn apart by faith, sanctity, and love – one child believes he’s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist’s daughter. Layering multiple stories of faith and rebellion, Dreyer’s adaptation of Kaj Munk’s play is a meditation on faith and fanaticism.

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

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

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

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

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

(PRÄSTÄNKAN) by Carl Th. Dreyer (1921, 78 min, 35mm, silent. With Danish intertitles; English synopsis available.) In this lyrical, early Dreyer comedy, a young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fiancée is his sister. Dreyer’s touch is evident in the close-ups of the pastor’s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.

(LA PASSION DE JEANNE D’ARC) by Carl Th. Dreyer (1927-28, 98 min, 35mm, silent. With Danish intertitles; English synopsis available.) Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era. Chronicling the trial of Joan of Arc in the final hours leading up to her execution, Dreyer depicts her torment with startling immediacy, employing an array of techniques – including expressionistic lighting, interconnected sets, and painfully intimate close-ups – to immerse viewers in her subjective experience. Anchoring Dreyer’s audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom. “With THE PASSION OF JOAN OF ARC, there occurs a most striking change in both the film-maker’s style and his intensity of thematic concentration. A few potent shots in previous movies hardly promise the unique and brilliant imagery which here bursts forth frame after frame. […] The vision of JOAN is inspired or demoniac. Her passion is observed with clinical detail in the sharp-etched, stark compositions, many relentless close-ups. But this is also loving detail, for Joan is the first of Dreyer’s possessed, a lineage which may be traced through the victims of VAMPYR to Anne in DAY OF WRATH and Johannes in ORDET; characters who work out their passions throughout the process of their films with peculiar intensity and directness, so that identification with the director himself is implicit.” –Ken Kelman, FILM CULTURE

by Carl Th. Dreyer (1931-32, 70 min, 35mm. In Danish with no subtitles; English synopsis available.) “Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.” –Carl Th. Dreyer

by Alexandr Dovzhenko (1928, 96 min, 35mm, silent. With Russian intertitles; English synopsis available.) Dovzhenko’s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a “cinematic poem” as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: “I did not so much make the picture as sing it out like a songbird.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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