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

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.

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’ll present two episodes of THE TWILIGHT ZONE – the classic TIME ENOUGH AT LAST and the timely, extreme-heat-themed THE MIDNIGHT SUN – screening from 16mm prints that reside in Anthology’s collection (thanks to a donation by David Mulkins). The screening will culminate with a special, unannounced film! Become a member at our box office, or at anthologyfilmarchives.org John Brahm TIME ENOUGH AT LAST 1959, 27 min, 16mm. Written by Rod Serling. With Burgess Meredith. Anton Leader THE MIDNIGHT SUN 1961, 27 min, 16mm. Written by Rod Serling. With Lois Nettleton. Plus, a special surprise!

Anahí Berneri ALANIS 2017, 82 min, DCP. In Spanish with English subtitles.

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

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

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.

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

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

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

Christine Choy FROM SPIKES TO SPINDLES 1976, 46 min, 16mm-to-DCP Christine Choy FEI TIEN, GODDESS IN FLIGHT 1983, 26 min, 16mm-to-DCP

Christine Choy HA HA SHANGHAI 2001, 82 min, DCP. In English and Mandarin with English subtitles.

Pearl Bowser & Christine Choy NAMIBIA, INDEPENDENCE NOW 1985, 55 min, 16mm-to-DCP Christine Choy REORIENTING AFRICA 2016, 37 min, DCP

Christine Choy & Susan Robeson TEACH OUR CHILDREN 1972, 35 min, 16mm-to-DCP Christine Choy & Cynthia Maurizio INSIDE WOMEN INSIDE 1978, 21 min, 16mm-to-DCP

Christine Choy & Marlene Dann TO LOVE, HONOR, AND OBEY 1980, 55 min, 16mm-to-DCP

Christine Choy & Renée Tajima WHO KILLED VINCENT CHIN? 1987, 82 min, 16mm-to-DCP. In English and Taishanese with English subtitles. Restored by the Academy Film Archive and The Film Foundation, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation, with additional support provided by Todd Phillips.

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

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

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.

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

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

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.

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.

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

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.

(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.

(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.”

Annapurna Sriram FUCKTOYS 2025, 106 min, DCP

Chuck Smith FUGS FILM! 2025, 84 min, DCP

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

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

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

BOOK RELEASE EVENT! GO GO GO SLOW This evening features a rare screening of John Smith’s SLOW GLASS (1988-91) – which uses the art of glassmaking as a prism to explore themes of memory and transformation – preceded by Marie Menken’s ode to New York City on speed, GO! GO! GO! (1964). Both films utilize layered imagery, in different ways, to alter our perception of time and space. The event celebrates the publication of “Frozen Features”, a new book of photographs by Jason Fulford. For nearly thirty years, Fulford has built a practice on the conviction that meaning lives less inside any single photograph than in the sequence and the things that happen around it – individual pictures forced to rhyme, echo, or collapse into dissonance against their neighbors, across books, exhibitions, publishing, and performance. “Frozen Features” pushes that instinct one step further, into a visual language of layers randomly composed from images made between 1996 and 2026. The results invite us to find the mystical lodged inside the everyday, felt before it’s understood. Fulford will introduce the films, and books will be available for purchase. For more info about “Frozen Features”, visit: https://loosejoints.biz/products/frozen-features Marie Menken GO! GO! GO! 1962-64, 12 min, 16mm, silent. Preserved by Anthology Film Archives. John Smith SLOW GLASS 1988-91, 40 min, 16mm

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.

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

INSURGENT POIESIS Tony Cokes EVIL 35: CARLIN / OWNERS 2012, 8 min, DCP Filipa César TRANSMISSION FROM THE LIBERATED ZONES 2015, 30 min, DCP Basel Abbas & Ruanne Abou-Rahme OH SHINING STAR TESTIFY 2016-19, 10 min, DCP Shiva Addanki A PERMANENT OPIUM WAR 2026, 10 min, DCP Colectivo Los Ingravidos FACES IN THE CROWD 2: MEMORIAL 2019, 14 min, 16mm-to-DCP Camila Galaz VECINO, VECINO 2022, 20 min, DCP

PROGRAM 1: Jackie Raynal DEUX FOIS 1968, 64 min, 35mm-to-DCP. In French and Spanish with English subtitles.

PROGRAM 2: Jackie Raynal MY LAST INTERVIEW WITH ÉRIC ROHMER / MA DERNIÈRE INTERVIEW AVEC ÉRIC ROHMER 2010, 18 min, digital Jackie Raynal GOUGNETTE 2008, 44 min, digital

PROGRAM 3: Jackie Raynal HOTEL NEW YORK 1984, 52 min, 16mm-to-DCP. With Jackie Raynal, Sid Geffen, Suzanne Fenn, and Gary Indiana. Preceded by: Éric Rohmer SIX IN PARIS / PARIS VU PAR…: PLACE DE L’ÉTOILE 1965, 16 min, 35mm-to-DCP. In French with English subtitles.

PROGRAM 4: Jim Jarmusch PERMANENT VACATION 1980, 75 min, 35mm Preceded by: Jacques Rozier PAPARAZZI 1964, 23 min, 16mm-to-DCP. In French with English subtitles.

TRAINS ARE FOR DREAMING 2009, 7 min, 16mm CHRONIC 1996, 37.5 min, 16mm FEAR OF BLUSHING 2001, 5.5 min, 16mm TASTE IT NINE TIMES 1992, 5.5 min, 16mm THE GIRL’S NERVY 1995, 5 min, 16mm SKINNY TEETH 2001, 7 min, VHS-to-digital [work-in-progress] (CELIA, DID YOU KNOW?) 2 min, video MOTHER’S DAY 1988, 5 min, video

Mira Nair KAMA SUTRA: A TALE OF LOVE 1996, 117 min, 35mm

Sara Gómez ABOUT EXTRA HOURS AND VOLUNTEER WORK / SOBRE HORAS EXTRAS Y TRABAJO VOLUNTARIO 1973, 9 min, 16mm-to-DCP Sara Gómez YEAR ONE / AÑO UNO 1972, 9 min, 16mm-to-DCP Dina Mimi THOUSAND THRASHING ARMS 2024, 13 min, DCP Maissa Maatouk EXERCISE IN WAITING, 2023, 7 min, DCP Nicolas Gourault THEIR EYES 2025, 23 min, DCP

Jean-Marie Straub & Danièle Huillet SICILIA! 1999, 66 min, 35mm

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).

NEW YORK PREMIERE! Diego Soto A HEART AS WILLING / LA CORAZONADA Chile, 2025, 78 min, DCP. In Spanish with English subtitles. Nieves runs a modest inn with her son in the Chilean countryside, leading a quiet life shaped by routine and deferred dreams. When a wandering motorcyclist arrives and falls for her, the prospect of a late-blooming romance offers an unexpected glimpse of happiness – yet their relationship seems destined to falter. Everything changes with the arrival of a filmmaker who casts them in her adaptation of Shakespeare’s “The Tempest”, drawing them into the creative process and gradually blurring the boundaries between performance and reality. As fiction begins to reshape their everyday lives, new emotional possibilities emerge in this playful and deeply human meditation on love, aging, cinema, and the mysterious ways stories transform those who inhabit them.

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

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.

This program celebrates the one and only Mike Kuchar! Beloved for the films he made in tandem with twin brother George, as well as for his own over-the-top underground masterpieces, Mike is a living legend, whose work from the 1960s to the present day is a crucial part of our history, our collections, and our programming at Anthology. Born and raised in the Bronx, Mike has been based in the Bay Area for many years now, where he’s continued to make work both on his own and with the generations of students he’s taught. This program comprises works from throughout his career including the early 8mm work THE CONFESSIONS OF BABETTE (1963), the rarely-screened 16mm FRAGMENTS (1967), the recently restored DEATH QUEST OF THE JU-JU CULTS (1976), and the brand-new BEYOND THE EDGE OF FOREVER (2025). Special thanks to Mike Kuchar and Michelle Silva (Kuchar Brothers Trust). THE CONFESSIONS OF BABETTE 1963, 15 min, 8mm-to-16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. FRAGMENTS 1967, 10 min, 16mm DEATH QUEST OF THE JU-JU CULTS 1976, 30 min, 16mm-to-digital. Restoration by the Kuchar Brothers Trust, Anthology Film Archives, and Francois Ghebaly Gallery. Digital Remastering by FotoKem. BEYOND THE EDGE OF FOREVER 2025, 8.5 min, digital

This program gathers rare vintage short films that open a portal to trans feminine interior life between 1967 and 1982. We meet these women in moments of quiet confidence, everyday mundanity, and enduring glamour. Through deeply intimate portraits, these films unearth buried pieces of trans history while illuminating how the world has long constricted trans women’s freedom to be. Made under a police state, these portraits mirror the experiences of trans femmes today. Each woman captured becomes a living testament to ancestral resilience and the enduring necessity of trans documentation. This program is co-curated by Thee Rose and Rosalina Michele for MIX NYC, one of the oldest queer experimental film festivals in the world. Nikolai Ursin BEHIND EVERY GOOD MAN 1967, 8 min, 16mm Marguerite Paris ALL WOMEN ARE EQUAL 1972, 15 min, 16mm Joseph Horning VALERIE 1975, 16 min, 16mm-to-DCP Manuel Herreros de Lemos & Mateo Manaure Arilla TRANS 1982, 22 min, 16mm-to-DCP

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

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

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

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

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

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

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

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

Cheryl Dunye MOMMY IS COMING 2012, 64 min, DCP

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

Angie Chen MY NAME AIN’T SUZIE / FA GAI SI DOI 1985, 96 min, 35mm-to-DCP. In Cantonese and Mandarin with English subtitles.

Hugh Harrison JERKER 1991, 90 min, DCP In a San Francisco apartment, in 1985, Bert is just about to fall asleep when a stranger named J.R. calls. “You hard?” he asks Bert, and the two begin a hot and heavy phone sex session that soon turns into a nightly routine. Over the span of a year, we watch as Bert (Tom Wagner) and J.R. (Joseph Stachura) explore their fantasies, get each other off, and forge a deeper connection that allows them to open up to each other about their fears and sorrows surrounding the AIDS epidemic, all without ever meeting face to face. Playwright Robert Chesley wryly called his groundbreaking 1986 play JERKER “a pornographic elegy with redeeming social value and a hymn to the queer men of San Francisco,” which perhaps sought to preempt the inevitable criticism and censorship of the play’s unabashedly sex-positive dialogue. Hugh Harrison’s smart, rarely seen 1991 adaptation combines the rich, raunchy text of Chesley’s play with the shot-on-video aesthetics of late 1980s gay adult films, making us feel as if we’re watching an especially well-written Jeff Stryker or Joey Stefano movie. Help us celebrate the 40th anniversary of JERKER’s theatrical premiere with this very special screening.

LES FANTÔMES DU HARD + FISTULE Most kinky queers in NYC know all about the Mineshaft, the legendary, long-shuttered NYC sex club in the Meatpacking District that was in operation from 1976 to 1985. But across the Atlantic, France’s first “hard” gay BDSM sex club was also called Mineshaft, and it has remained a sacred space for BDSM and fetish sex in Marseille since its opening in 1967. In this pair of short experimental documentaries, director Lazare Lazarus and friends excavate the archive left by the Mineshaft’s founder Jean-Pierre Fouque. Chapter 1 tells the story of the squatters who took over Fouque’s apartment after his death in 2022 and discovered his archive, while illuminating aspects of the club owner’s life – his lovers, political views, activism, and more. Chapter 2, co-directed with Lupa Charon Gateff, is more of a found-footage experimental porno mixtape, using the Mineshaft’s archive of hardcore gay porn and BDSM videotapes to take us into the dungeons of Europe, both real and imagined. These two shorts will be followed by Emre Busse’s FISTULE, which invites the audience into a realm where an anal fissure serves as a dramatic springboard, exposing the absurdity of societal norms with a mix of tragedy, camp, and sexuality. If you’re a fan of the films of Liz Purchell (ASK ANY BUDDY), Ryan A. White (RAW! UNCUT! VIDEO!), and Yann Gonzalez (KNIFE + HEART), you’ll find much to enjoy in this month’s program. Lazare Lazarus LES FANTÔMES DU HARD, CHAPTER 1 2023, 35 min, DCP. In French with English subtitles. Lazare Lazarus & Lupa Charon Gateff LES FANTÔMES DU HARD, CHAPTER 2 2024, 24 min, DCP. In French with English subtitles. Emre Busse FISTULE 2026, 17 min, DCP

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.

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

Mila Turajlić CINÉ-GUERRILLAS: SCENES FROM THE LABUDOVIĆ REELS 2022, 94 min, DCP

John Akomfrah & Black Audio Film Collective TESTAMENT 1988, 80 min, 16mm-to-DCP

Reem Shilleh PERPETUAL RECURRENCES 2016, 60 min, DCP

Annie Sprinkle & Beth Stephens PLAYING WITH FIRE: AN ECOSEXUAL EMERGENCY 2025, 71 min, DCP

POSTSCRIPTS OF MODERNITY, PART 1 Hong Kong Documentary Filmmakers TAKING BACK THE LEGISLATURE 2020, 45 min, DCP Bahar Noorizadeh AFTER SCARCITY 2018, 30 min, DCP

Nadir Bouhmouch AMUSSU 2019, 100 min, DCP

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

Marlon Riggs ANTHEM 1991, 9 min, DCP Valentin Noujaïm OCEANIA 2024, 24 min, 16mm-to-DCP Michelle Parkerson ODDS AND ENDS 1993, 28 min, DCP

Peng Zuqiang SIGHT LEAK 2022, 12 min, 16mm & Super-8mm-to-DCP Jumana Manna BLESSED BLESSED OBLIVION 2010, 21 min, DCP Naomi Rincon Gallardo PATLANCHE ANT NEST 2025, 21 min, DCP

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

1994, 88 min, 16mm. New preservation print courtesy of the Academy Film Archive. Shot at New York’s The Kitchen just six months before Ron Vawter died, filmmaker Jill Godmilow’s version of ROY COHN/JACK SMITH remixes Vawter’s celebrated theater piece by intercutting its two acts. Whereas the original stage production was divided into two separate and opposing parts, “Roy Cohn” and “Jack Smith”, Godmilow deftly cuts back and forth from one portrait to the other throughout her film, creating an ongoing conversation between the two contrasting figures and reinventing the highly acclaimed theater piece for a cinema audience. This screening will represent the premiere of a new preservation of this important film.

PROGRAM 1: FICTIONALIZING REALITY José Luis Guerín WORK IN PROGRESS / EN CONSTRUCCIÓN 2001, 127 min, 35mm-to-digital. In Spanish & Catalan with English subtitles. Preceded by: John Smith BLIGHT 1994-96, 14 min, 16mm-to-digital. Collaboration with Jocelyn Pook.

PROGRAM 2: PERFORMANCE AND REBELLION Ou Ning MEISHI STREET 2006, 85 min, digital. In Mandarin with English subtitles. Preceded by: Gordon Matta-Clark SPLITTING 1974, 11 min, Super-8mm-to-digital, silent

PROGRAM 3: STATE POWER Yuval Abraham, Basel Adra, Hamdan Ballal, and Rachel Szor NO OTHER LAND 2024, 92 min, DCP. In Arabic, English, and Hebrew with English subtitles. Preceded by: Cynthia Madansky STILL LIFE 2004, 15 min, Super-8mm-to-digital. Sound design by Zeena Parkins.

PROGRAM 4: IN VANDA’S ROOM Pedro Costa IN VANDA’S ROOM / NO QUARTO DA VANDA 2000, 171 min, DCP. In Portuguese with English subtitles.

PROGRAM 5: DESTROYED VISION J.P. Sniadecki DEMOLITION / CHAIQIAN / 拆·迁 2008, 62 min, DCP. In Mandarin and Sichuanese with English subtitles. Preceded by: Viktoria Schmid W O W (KODAK) 2018, 2 min, 35mm-to-DCP Nadav Assor GROUND EFFECT 2016, 14 min, digital

PROGRAM 6: STILL LIFE Jia Zhangke STILL LIFE / 三峡好人 2006, 111 min, DCP. In Mandarin, Jin, and Sichuanese with English subtitles.

PROGRAM 7: SHORT FILMS William Raban TIME STEPPING 1974, 19 min, 16mm-to-digital Dominic Angerame IN THE COURSE OF HUMAN EVENTS 1997, 23 min, 16mm Miléna Trivier 12 AUGUST 2002 2002, 10 min, video. Voiceover by John Berger. Anna Thew LFMC DEMOLITION 2004, 9 min, 16mm-to-digital Jacob Burckhardt JawwZZZ 2024, 15 min, digital. Soundtrack by Lary 7. Louis Lumière & Auguste Lumière DEMOLITION OF A WALL / DÉMOLITION D’UN MUR 1895, 1.5 min, 35mm-to-DCP

Rufus Butler Seder SCREAMPLAY 1984, 91 min, 16mm-to-DCP. New 4K restoration by Muscle Distribution in association with Matchbox Cine. Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad. SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood. Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (see page ?), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.

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)

1985, 84 min, 16mm-to-DCP. In German with English subtitles. Wanda (Mechthild Großmann) is a dominatrix who runs an S/M performance space in Hamburg where she stages elaborate sexual rituals for a discerning audience. Cruelty is her profession, but constructing traps for her lovers – including the lovelorn Gregor (Udo Kier), the naive and innocent Justine (Sheila McLaughlin), and the jaded Caren (Carola Regnier) – is her specialty. All know the rules of the game, but not all are willing to play their roles – but the show must go on…

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

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

Lloyd Kaufman TERROR FIRMER 1998, 114 min, 35mm

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

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

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.

Azian Nurudin NANCY’S NIGHTMARE 1988, 5 min, digital Michelle Handelman CATSCAN 1989, 6 min, Super-8mm-to-digital. Made with with Monte Cazazza. M.M. Serra & Jennifer Reeves DARLING INTERNATIONAL 1999, 22 min, 16mm-to-digital Maria Beatty THE BLACK GLOVE 1996, 30 min, digital Beth B THE DOMINATRIX SLEEPS TONIGHT 1984, 4 min, video Ione Wang WHEN I LOOK AT YOU, I SEE ME 2024, 7 min, digital

Jennifer Reeves THE GLORIA OF YOUR IMAGINATION 2024/25, 98 min, 16mm + DCP

by Mireia Sallarès In Spanish with English subtitles, 2009, 300 min, digital “In 2006 the Barcelona artist and filmmaker Mireia Sallarès began interviewing, in complete intimacy, about thirty Mexican women, about just that: being women in Mexico and their sexual experiences – their experience with pleasure and also with violence. The result is LAS MUERTES CHIQUITAS, ‘the little deaths’, which, like the French ‘la petite mort’, is a slangy euphemism in Spanish for female orgasm, the post-orgasmic state of unconsciousness that some experience after sex. This wild, five-hour film is revolutionary…. […] Sallarès uses the simplest of means, filming by herself, entirely in medium close-ups, as she interviews, among many others, two anthropologists, a performance artist, an AIDS worker, a few sex-workers, a cabaret artist, two psychoanalysts, an historian, two ex-nuns, a journalist, a cross-dressing bisexual-tranny, a housekeeper, an actress, a philosopher, two guerillas, even exiled women from other countries…. She asks them to talk about, at first, their own orgasms. What emerge are extraordinary stories and images of pleasure, and often damage. “The film’s subtitle, ‘An unfinished story of pleasure and violence’, helps connect the dots. There is abundant sexual violence against and around women in Mexico, and effective resistance. Sallarès’s correspondents are prepared to talk about their histories and so the film goes there – not just to the violence but also to the relationship between violence and sexuality, and soon enough to violence, sex, pleasure and spiritual release. These are models to learn from and admire. The critic Helena Braunštajn says this film is a place ‘where pleasure is related to armed struggle, feminicide, transsexuality, women’s liberation theology, prostitution, illness, exile, the plurality of Mexican identity, and the ethical commitment of art to socio-political reality.’ One woman says orgasm is ‘like grabbing onto the wings of an angel who lowers me down to the ground.’ Enough said.” –Jill Godmilow

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.

THE TIME BENEATH THE CONCRETE Alex Johnston EVIDENCE OF THE EVIDENCE 2018, 20 min, DCP Sky Hopinka SUNFLOWER SIEGE ENGINE 2022, 12 min, DCP Larry Clark AS ABOVE, SO BELOW 1973, 52 min, 16mm-to-DCP

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

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.

PROGRAM 1: PSYCHODRAMAS: MASKED FIGURES / MULTIPLE IDENTITIES WHAT’S THIS? 1973, 1.5 min, 16mm-to-digital, silent A KISS OF DEATH 1974, 9 min, 16mm 6 TO 8AM 1975, 30 min, 16mm-to-digital EMBRACABLE YOU 1979, 5 min, 16mm-to-digital ASIAM 1982, 5 min, 16mm, silent WELCOME TO THE HOUSE OF RAVEN 1997, 3 min, 16mm

PROGRAM 2: VIGNETTES/MINIATURES FINE FRENCH PHRASES AND OTHER FABLES 1976, 4 min, 16mm-to-digital FALL WORKS 1978, 3.5 min, 16mm-to-digital, silent GREEN MOUNTAIN 1978, 1.5 min, 16mm-to-digital EF 1979, 4 min, 16mm, silent LONESOME COWBOY 1979, 30 sec, 16mm NOTES 1979, 1 min, 16mm-to-digital, silent THREE MASKED PIECES 1979, 1 min, 16mm-to-digital, silent SMALL EVENTS 1979, 2 min, 16mm-to-digital BY THE SEA 1982, 1.5 min, 16mm, silent CONQUEST PIECE 1982, 6 min, 16mm NOT A MUSIC VIDEO 1987, 7 min, 16mm

PROGRAM 3: LATER WORK VISION QUESTS 2009, 15 min, digital AT EDEN’S HEART 2021, 3 min, digital BLACK OAK FALLEN 2021, 9 min, digital A FIRE’S POEM 2022, 4 min, digital APART – A PART 2024, 6.5 min, digital THE BIRDS AND THE BEASTS 2025, 4 min, digital SOUL – WHAT LIES WITHIN 2026, 5 min, digital FRAGMENT #9 – ON THE ASYMMETRY OF BROKEN BRANCHES 2026, 1.5 min, digital

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

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

SPECIAL SCREENING – FILMMAKER IN PERSON! Michèle Stephenson TRUE NORTH 2025, 96 min, DCP. In English and French with English subtitles. “This propulsive cinematic confrontation with Canada’s anti-Black racism explores the pivotal, yet often overlooked, Canadian civil rights movement. Filmmaker Michèle Stephenson (AMERICAN PROMISE; STATELESS; GOING TO MARS: THE NIKKI GIOVANNI PROJECT) artfully weaves a haunting soundscape with dynamic archival footage and intimate new interviews, immersing us in Black life in 1960s Montreal. The film culminates in the 1969 Sir George Williams Affair, where 200 students, many of them Haitian immigrants fleeing the Duvalier regime, occupied a ninth-floor computer lab at Sir George Williams University (now Concordia) to protest blatant institutional bigotry. This rare footage feels hauntingly prescient against the backdrop of recent student protests, serving as a stark reminder that these cycles of resistance are deeply etched in our collective history. By shining a light on these unsung stories, Stephenson reframes the 1960s civil rights movement not as a strictly American phenomenon, but as a continent-wide, ongoing struggle for survival, justice, and dignity.” –FULL FRAME DOCUMENTARY FILM FESTIVAL Preceded by: Dawn Wilkinson DANDELIONS 1995, 5 min, 16mm “In DANDELIONS, Dawn Wilkinson – a Black Canadian woman – bears witness to the experience of being made to feel like an outsider in one’s own home, in one’s own landscape. At one point, Wilkinson observes, ‘I’m Canadian…It’s popular enough to sell beer, but no one can define what it means. And yet they do, they define it every time they ask me where I’m from.’ DANDELIONS is a beautiful and eloquent film that deploys the techniques of a lyrical, interiorized cinema to lay bare the ways in which Western societies foster an idea of whiteness as ‘neutral’ and everything else as ‘other,’ and to illustrate the psychic toll on those who exist outside this construct.” –Jed Rapfogel, CINEASTE

Victoria Hely-Hutchinson VACANCES 2025, 82 min, DCP A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity. “This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL

VEILED STRUGGLES: QUEERNESS, COLONIALISM, AND MEMORY Valentin Noujaïm OCEANIA 2024, 24 min, digital. In French with English subtitles. Richard Fung SEA IN THE BLOOD 2000, 26 min, video Mohammed Soueid CINEMA FOUAD 1994, 41 min, video. In Arabic with English subtitles.

RE-TELLING: OUR GRANDMOTHERS HAVE KNOWN Valentin Noujaïm BEFORE SHE FORGETS HELIOPOLIS / AVANT D’OUBLIER HELIOPOLIS 2018, 23 min, digital. In French with English subtitles. Darryl Daley YOULOGY / NO GHOSTS 2025, 8 min, digital Barbara Hammer OPTIC NERVE 1985, 16 min, 16mm Razan AlSalah YOUR FATHER WAS BORN 100 YEARS OLD, AND SO WAS THE NAKBA 2017, 7 min, digital. In Arabic with English subtitles. Caroline Monnet IKWÉ 2009, 5 min, digital. In Cree and French with English subtitles. Jean-Pierre Bekolo GRANDMA’S GRAMMAR / LA GRAMMAIRE DE MA GRAND’MERE 1996, 8 min, digital. In French with English subtitles. Shenny De Los Ángeles & Amanda Morell (iiritu) FLORINDA’S DAUGHTER / HIJA DE FLORINDA 2024, 12 min, digital. In English and Spanish with English subtitles.

PLEASE RELAX NOW 2014, 12 min, DCP LIKE RATS LEAVING A SINKING SHIP 2012, 24.5 min, DCP SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR 2016, 3.5 min, DCP MOOD MANAGEMENT 2017, 2 min, DCP UNTITLED SEQUENCE OF GAPS 2020, 12.5 min, DCP THE ISLAND OF PERPETUAL TICKLING (III) 2018, 13 min, DCP

WELCOME ADDRESS 2017, 9 min, DCP YOU ARE BORING! 2015, 14 min, DCP THE CAPACITY FOR ADEQUATE ANGER 2021, 15 min, DCP COMPASSION AND INCONVENIENCE 2024, 30 min, DCP

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

UNIONDOCS PRESENTS Frederick Wiseman WELFARE 1975, 167 min, 16mm-to-DCP Frederick Wiseman’s WELFARE (1975) depicts the nature and complexity of the welfare system in sequences illustrating the staggering diversity of problems that constitute welfare: housing, unemployment, divorce, medical and psychiatric problems, abandoned and abused children, and the elderly. These issues are presented in a context where welfare workers as well as clients struggle to cope with and interpret the laws and regulations that govern their work and life. We’re excited to be partnering with UnionDocs for this screening, which represents the opening night of their two-week intensive workshop, “Wiseman’s New York”. Produced by UnionDocs and hosted by Genevieve Yue, this program is an in-depth exploration of Wiseman’s relationship to his most revisited location: New York City. Across 10 days, Yue will guide participants through a survey of Wiseman’s New York films, alongside visits to the institutions, neighborhoods, and civic spaces they document. Throughout the program, Yue is joined by filmmakers, critics, artists, and community members whose work is in conversation with Wiseman’s films, from a range of perspectives. Through screenings, discussions, site visits, and conversations, participants will consider how Wiseman’s extraordinary attention to place, labor, and public life continues to shape documentary practice today. For more info about UnionDocs’ workshop, “Wiseman’s New York”, visit: https://uniondocs.org/wisemans-new-york/

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.

Jill Godmilow WHAT FAROCKI TAUGHT 1997, 30 min, 16mm. Made in collaboration with Gloria Jean Masciarotte & Ted Mandell. Jill Godmilow SCUM MANIFESTO 2016, 27 min, digital. Made in collaboration with Joanna Krakowska & Magda Mosiewicz.

Mireia Sallarès WHAT GODMILOW TAUGHT 2010-14, 46 min, digital. In English and Catalan with English subtitles. Presented with the support of the Institut Ramon Llull. Followed by: Jill Godmilow ECSTATIC ORGASM 7.5-min excerpt from an unfinished film, digital

Jennifer Reeves WHEN IT WAS BLUE 2009, 58 min, 16mm dual projection

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

PROGRAM 1: FAMILY FRIENDLY MATINEE – ANIMATED ANIMALS Bessie Mae Kelley FLOWER FAIRIES 1921, 5 min, 35mm-to-DCP, silent. Restored and distributed by Manitou Productions Inc. Dave Fleischer EDUCATED FISH 1937, 7.5 min, 35mm. Uncredited animator: Lillian Friedman. Preserved by the Academy Film Archive and UCLA Film & Television Archive in cooperation with Paramount Pictures. Hermína Týrlová & Ladislav Zástěra FERDA THE ANT / FERDA MRAVENEC 1944, 10 min, 16mm-to-DCP. Courtesy of the Czech National Film Archive. Mary Ellen Bute COLOR RHAPSODIE 1948, 6 min, 35mm. Made with Ted Nemeth. Preserved by Anthology Film Archives, with assistance from Cineric, Inc. Brian Borthwick & John Halas THE OWL AND THE PUSSYCAT 1952, 6 min, 35mm-to-DCP. Produced by Joy Batchelor & John Halas. Tex Avery CRAZY MIXED UP PUP 1954, 6 min, 35mm-to-DCP. Animator: Laverne Harding. Mort & Millie Goldsholl INTERGALACTIC ZOO 1964, 2.5 min, 16mm-to-DCP Evelyn Lambart THE HOARDER 1969, 7.5 min, 35mm-to-DCP Sara Petty FURIES 1977, 3 min, 16mm Sally Cruikshank FROM YOUR HEAD 1996, 2 min, 16mm-to-DCP

PROGRAM 2: ON BEING A WOMAN Lotte Reiniger GALATHEA 1935, 11 min, 35mm-to-DCP Jack Kinney THE STORY OF MENSTRUATION 1946, 10 min, 16mm. Conceptual design by Sylvia Holland. Allan Crick THE FIGUREHEAD 1952, 7.5 min, 35mm-to-DCP. Co-written and co-produced by Joy Batchelor. Alexander Alexeieff, Irmgard Messant-Serelle, Claire Parker, and Georges Violet PURE BEAUTÉ 1954, 1 min, 35mm-to-DCP Clorinda Warny PETIT BONHEUR 1972, 8 min, 35mm-to-DCP Faith Hubley W.O.W. (WOMEN OF THE WORLD) 1975, 10 min, 35mm Eugene Fedorenko EVERY CHILD 1979, 6 min, 35mm-to-DCP. Animator: Rose Newlove. Caroline Leaf ENTRE DEUX SOEURS 1990, 10 min, 35mm-to-DCP Signe Baumane BIRTH 2009, 11 min, DCP

SCREENING 3: SUNFLOWER LANE Alice Cohen, Esther Crow, Rachael Guma, Alexis Outlaw-Clark, Amari Outlaw-Clark, and Kelly Spivey SUNFLOWER LANE: CYCLES 2026, 20 min, DCP Plus: Caroline Leaf & Veronika Soul INTERVIEW 1979, 13 min, 35mm-to-DCP Sandy Moore THE LIVES OF FIRECRACKERS 1979, 12 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives. Faith Hubley MY UNIVERSE INSIDE OUT 1996, 24 min, 35mm

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