Ghassan Salhab (POSTHUMOUS) / (POSTHUME) 2007, 31 min, DCP. In Arabic with English subtitles. Ghassan Salhab NO TITLE 2025, 42 min, DCP. In Arabic with English subtitles.

DIFFERENT IMAGES Lebert Bethune & John Taylor JOJOLO 1966, 22 min, 16mm. Collection of the Smithsonian National Museum of African American History and Culture. Alile Sharon Larkin A DIFFERENT IMAGE 1982, 52 min, 16mm. Archival print courtesy of the Academy Film Archive.

Claude Jutra À TOUT PRENDRE 1963, 99 min, 35mm-to-DCP. In French with English subtitles. Courtesy of the Cinémathèque québécoise.

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

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

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

BILL MOYERS JOURNAL: ROSEDALE: THE WAY IT IS 1976, 58.5 min, DCP

Lebert Bethune & John Taylor JOJOLO 1966, 22 min, 16mm. Collection of the Smithsonian National Museum of African American History and Culture. Sarah Maldoror TOTO BISSAINTHE 1984, 4 min, 16mm-to-DCP John W. Fletcher HANDS OF INGE 1962, 10 min, 16mm. Collection of the Smithsonian National Museum of African American History and Culture. Simone Leigh & Madeleine Hunt-Ehrlich CONSPIRACY 2022, 25 min, DCP

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

“A cinematographic stroll through the New York district of the East Village. Sandler allows homeless people to speak out. A surprising number of them are war veterans. These tramps probably are not all humorous, nor do they all make sense, but the film maker made a good selection. Some know exactly why America goes to war, others advertise condoms with the stars and stripes on them.” –ROTTERDAM SUBWAY TO THE FORMER EAST VILLAGE 2007, 33 min, digital Working against gentrification’s erasures, Sandler catalogues the East Village’s changes in their particularity: the closing of a community center, a woman’s riff on a fancy new restaurant, new waves of political graffiti following the 9/11 attacks, and increasing evidence of class inequity. Total running time: ca. 90 min.

Bonnie Friedman & Karen Mitnik / Newsreel CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) 1970, 20 min, 16mm-to-DCP Newsreel BREAK AND ENTER aka SQUATTERS / ROMPIENDO PUERTAS (Newsreel #62) 1971, 42 min, 16mm-to-DCP

1980, 60 min, 16mm-to-digital. 4K restoration courtesy of IndieCollect; restoration funded by the HFPA Trust and IndieCollect donors to the Jane Fonda Fund for Women Directors. At once a charming portrait of the diverse residents of a unique New York City neighborhood, a vibrant time capsule of the city at the very beginning of the 1980s, and a penetrating exploration of the social and political dynamics of a rapidly changing community, BRIGHTON BEACH is a long-lost gem of documentary cinema that has been newly restored by IndieCollect. Directed with great empathy and perceptiveness by Carol Stein & Susan Wittenberg, BRIGHTON BEACH captures the Brooklyn neighborhood known as the poor man’s paradise – a city by the sea down the street from the Coney Island boardwalk. Interspersing interviews with the neighborhood’s residents – including the Soviet Jews who had begun arriving in large numbers at the time – with archival footage of the area fifty years earlier, the film is both a portrait of a very particular time and place as well as a study of the ways in which urban communities function, cohere, and continuously transform themselves. “BRIGHTON BEACH is a film about survival, uprootedness, immigration, racism…marriage…how the poor find pleasure, how the old stay young, how people in crowded places share space, how the melting pot won’t melt. It is a film about a corner of gentleness and relief in a tough town.” –Carol Stein & Susan Wittenberg “The filmmakers interviewed locals of various ethnic persuasions (with a particular focus on the recent influx of Soviet Jews), interspersing everything with stock footage of Coney Island in the ’30s and moody shots of the boardwalk at dawn. A cameo by the Barry Sisters makes the film a must for connoisseurs of Yiddish kitsch.” –J. Hoberman, VILLAGE VOICE

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

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

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

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

Michel Amarger & Frédérique Devaux CINEXPÉRIMENTAUX: A MEETING WITH ABIGAIL CHILD 2023-25, 91 min, DCP Part of an ongoing series of documentary portraits of those who further the cause of experimental cinema in the 21st century (other subjects have included the filmmakers Nicolas Rey, Rose Lowder, and Stephen Dwoskin, as well as scholars, distributors, and curators such as Vivian Ostrovsky, Pip Chodorov, the Light Cone cooperative, and others), A MEETING WITH ABIGAIL CHILD represents a deep dive into the life and work of Child. Encompassing several in-depth interviews, copious footage from her films past and present, and revealing glimpses of the artist at work, the documentary is an essential supplement to Child’s own filmography.

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

PROGRAM 1: CINEMA Erudite and always irreverent cinephiles, Ciprì & Maresco have infused their work with their love for cinema, whether through homages, citations or profanations. Though hyperlocal (their filmmaking never ventured outside their native Palermo), their films have genealogically followed the human and cinematographic trajectories that lead from Sicily to America, and vice versa. They filmed Martin Scorsese recounting the urban articulation of Sicilian villages transplanted to Lower Manhattan and listened to Samuel Fuller chronicling the Allied invasion of Sicily in WWII. (American) Cinema is at the aesthetic center of their work. Their love for John Ford is plastically illustrated in their predilection for long shots, a recurring feature in the films of Ciprì & Maresco. This program gathers sketches from Cinico TV and short films that pay sacrilegious homage to the 7th Art.

The body, in all its abominable candor, is one of the poetic pillars of Ciprì & Maresco’s cinema. Tragically devoid of any female presence, their films frame with sardonic ridicule the violent loneliness of men. Undressed, both literally and metaphorically, the male body is the lone signifier of (in)human urges that are always frustrated, crudely demanded but never fulfilled. The appalling body and its unspeakable impulses are not so much filmed, but structure the vision and cinema of Ciprì & Maresco. The rubble they’re filmed in is not mere background but an unflattering reflection of the human ruins they incarnate. In the cosmically pessimistic universe of Ciprì & Maresco, humanity is doomed, for even life already resembles death. A bitter laughter is the lapidary seal on this dejected, (post-)human landscape.

In the “Cinico TV” sketches and short films devoted to the Mafia and crime more generally, Ciprì & Maresco radically overturn the conventions of political and anti-Mafia cinema. Cosa Nostra does not appear as a mythical, mysterious, or invincible power, but as an ordinary and grotesque presence, immersed in the marginality of the bodies, landscapes, and characters that inhabit their Palermo. Mafia bosses, affiliates, and rituals are stripped of any aura of (anti-)heroism and returned to a dimension that is at once miserable and surreal, where violence coexists with emptiness, absurdity, and everyday degradation. Through silences, distorted dialogue, and pitch-black humor, Ciprì & Maresco dismantle the mythology surrounding the Mafia and reveal its banality as a form of power and oppression.

For all the pessimism and cynicism that animates the cinema of Ciprì & Maresco, there is a visionary tension that prevents the lights from going off completely: a glimmer of hopeless and resplendent defiance (Carmelo Bene saw in their films “the grandiosity of the sacred”). Their very art and sarcastic genius are an implicit counterpoint to the existential despair that haunts their films. Informed by an eclectic array of cultural influences, there is a vital force that invigorates every frame, a ludic folly that catches the spectators off guard and floods them with amazement.

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

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

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

Andy Warhol EAT 1964, 35 min, 16mm, silent Andy Warhol BLOW JOB 1964, 36 min, 16mm-to-DCP, silent

“The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice’s, are clearly the most significant work to come out of the beat period.” –J.J. Murphy All films preserved by Anthology Film Archives. THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm) BEAT (1958, 6 min, 16mm) SCOTCH HOP (1959, 5.5 min, 16mm) THE END (1953, 35 min, 16mm) Total running time: ca. 65 min. [THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP are not part of the Essential Cinema collection, but are included here as a special bonus.]

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

“The unique contribution of Land’s work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly ‘boring’ world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars.” –Mark Webber, TWO FILMS BY OWEN LAND FLEMING FALOON (1963, 6 min, 16mm) FILM IN WHICH THERE APPEAR EDGE LETTERING, SPROCKET HOLES, DIRT PARTICLES, ETC. (1965-66, 5 min, 16mm, silent) DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent) THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm) INSTITUTIONAL QUALITY (1969, 5 min, 16mm) REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm) WHAT’S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm) THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm) A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm) FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR… have been preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Total running time: ca. 70 min.

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

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

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

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

George & Mike Kuchar PUSSY ON A HOT TIN ROOF 1961, 14 min, 8mm-to-16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. TOOTSIES IN AUTUMN 1963, 15 min, 8mm-to-16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. Len Lye TUSALAVA 1929, 10 min, 16mm, silent TRADE TATTOO 1937, 5 min, 35mm RHYTHM 1957, 1 min, 16mm FREE RADICALS 1958/79, 4 min, 16mm

“Stan Laurel and Oliver Hardy are the movies’ greatest comic duo, the quintessential dumb and dumber odd couple. Though critically overshadowed by Chaplin, Keaton, and Lloyd, they were enormously popular, and proved a major influence on Abbott & Costello, Lucille Ball & Vivian Vance, and Jackie Gleason & Art Carney, not to mention Samuel Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski (who paid homage to them in his existentialist short films FAT AND LEAN and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS deconstructs one of their films).” –David Mulkins Special thanks to Ken & Flo Jacobs. Harry Lachman OUR RELATIONS 1936, 73 min, 16mm

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

Fernand Léger & Dudley Murphy BALLET MÉCANIQUE (1924, 19 min, 35mm, silent. Preserved by Anthology Film Archives.) “The two fundamental works of the graphic cinema from the 1920s made without animation were Fernand Léger’s BALLET MÉCANIQUE and Marcel Duchamp’s ANEMIC CINEMA. By extending a metaphor from several of his paintings into film, Léger compared a universe of human actions and everyday objects to the functions of a machine.” –P. Adams Sitney, VISIONARY FILM René Clair & Francis Picabia ENTR’ACTE (1924, 22 min, 35mm) One of the indisputable masterpieces of Dada cinema, ENTR’ACTE was created, as its title suggests, to function as a diversion in between the two acts of Francis Picabia and Erik Satie’s avant-garde ballet RELÂCHE. Man Ray LE RETOUR À LA RAISON (1923, 2 min, 16mm, silent) ÉTOILE DE MER (1927, 13 min, 16mm, silent) EMAK BAKIA (1927, 18 min, 35mm, silent) “All the films I have made have been improvisations. I did not write scenarios. It was automatic cinema. I worked alone. My intention was to set in motion the compositions I made in photography. As for the camera, I use it to capture something I do not want to paint. But I am not interested in producing ‘beautiful photography’ for the cinema.” –Man Ray, “All the Films I Have Made” (1965) Marcel Duchamp & Man Ray ANEMIC CINEMA (1926, 7 min, 35mm, silent) “Duchamp alternates head-on views of his illusion-producing roto-reliefs with similarly turned discs of words, elaborate French puns printed spirally, creating a fluctuation of illusory depth within a very narrow spectrum (from the slightly convex or slightly concave illusions) to the flat readings. In this, his only film, Duchamp typically crystallized the significance of the graphic film.” –P. Adams Sitney, VISIONARY FILM Total running time: ca. 85 min.

NEW 35MM PRINTS! For this round of the Essential Cinema cycle, we will be showcasing brand new 35mm prints that Anthology has recently acquired of Peter Kubelka’s films. To celebrate these new prints, we will be supplementing the regular EC program with new prints of Kubelka’s POETRY AND TRUTH and ANTIPHON, as well as a vintage print of PAUSE!, which together effectively comprise a complete retrospective of his work! Special thanks to Peter Kubelka and the Austrian Film Museum. MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN 1955, 16 min, 35mm. Made in collaboration with Ferry Radax. Brand new print! ADEBAR 1957, 1 min, 35mm. Brand new print! SCHWECHATER 1958, 1 min, 16mm. Brand new print! ARNULF RAINER 1960, 7 min, 35mm. Brand new print! OUR TRIP TO AFRICA / UNSERE AFRIKAREISE 1966, 12 min, 16mm PAUSE! 1977, 12 min, 16mm POETRY AND TRUTH / DICHTUNG UND WAHRHEIT 1996-2003, 13 min, 35mm. Brand new print! ANTIPHON 2012, 6.5 min, 35mm. Brand new print!

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

by Jonas Mekas (1971-72, 82 min, 16mm-to-35mm. Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.) “The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –Jonas Mekas

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

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

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

by Jonas Mekas (1968-69, 180 min, 16mm) “Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don’t get it at all.” –Jonas Mekas

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

2025, 83 min, DCP. Distributed by Icarus Films. “For most of my adult life,” director Lynne Sachs writes, “I’ve collected business cards strangers have pulled from their wallets and placed in my hand. I sometimes remember the precise moment they were offered to me, other times they are a mystery.” In EVERY CONTACT LEAVES A TRACE, Sachs shuffles and sorts her hundreds of cards, chooses seven, and decides to contact their owners and film their encounters. What follows is a years-long journey to trace the imprint left by Sachs’s contact with these people – including her hairstylist, a Chinese filmmaker and festival programmer, her former therapist, and a textile artist whose designs inspire the illustrations and animations that punctuate the film. But EVERY CONTACT LEAVES A TRACE is not a “where are they now” film. Instead, it’s a meditation on memory, reality, and forgetting. Ultimately, it’s not just about the encounters. It’s about Sachs herself, and who she is and has been, as a person and a filmmaker. As the International Documentary Festival Amsterdam (IDFA) writes, through her “warm, contemplative voice-over and playful visual invention, Sachs weaves countless faces and voices into a patchwork of connections. These encounters – whether forgotten or remembered, faint or vivid – have become part of her being.”

Sandor Reisenbuchler FAREWELL, LITTLE ISLAND / ISTEN VELED, KIS SZIGET Hungary, 1987, 12 min, 35mm-to-digital Fanny Sorgo & Eva Pedroza TAKO TSUBO Austria/Germany, 2024, 6 min, digital Jeff Carpenter & Mary Lambert RAPID EYE MOVEMENTS U.S., 1977, 11 min, 16mm-to-digital Alexandre Alagôa XYZ Luxembourg, 2026, 12 min, digital. Contains strobing imagery. Lewis Klahr ALTAIR U.S., 1995, 7 min, 16mm-to-digital Caibei Cai SLIVER CAVE / 银幕 China, 2021, 14 min, digital Ida Lasic MOLLY DANE U.S., 2020, 6 min, digital Amy Kravitz RIVER LETHE U.S., 1985, 7 min, 16mm-to-digital

2026 NYC SPOTLIGHT GUEST: CHRIS SULLIVAN Chris Sullivan THE ORBIT OF MINOR SATELLITES 2026, 117 min, DCP

SHORT FILM PROGRAM 1 Winston Hacking ACTION BOG Canada, 2025, 2 min, digital Emma Calder SPRINGFIELD UK, 1986, 7 min, 16mm-to-digital Adebukola Bodunrin LEAKS IN THE LINES France/U.S., 2026, 4 min, digital Chihiro Yamanaka VEILS OF LANDSCAPE / / 霞始めてたなびく Japan, 2025, 5 min, digital JoAnn Gillerman ORCHID U.S., 1985, 3 min, digital Shana Moulton THE UNDISCOVERED DRAWER U.S., 2013, 9 min, digital Sara Petty PRELUDES IN MAGICAL TIME U.S., 1987, 4 min, 16mm-to-digital Emile Cohl ART’S INFANCY / L’ENFANCE DE L’ART France, 1910, 4 min, 35mm-to-digital. Piano score by Andrew Dorsett. Çağıl Harmandar VISION Japan/Turkey, 2023, 7 min, digital Julian Antonisz WHAT DO WE SEE AFTER CLOSING OUR EYES AND COVERING OUR EARS Poland, 1978, 5 min, 35mm-to-digital Ruth Peyser GO TO HELL U.S., 1994, 8 min, 16mm Kevin Eskew ENSMOOTHENING U.S., 2026, 12 min, digital

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

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

Gregory Markopoulos GALAXIE 1966, 82 min, 16mm

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

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

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

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

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

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

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

This program consists of films discussed in Millennium Film Journal No. 84: Circulation. Celebrating 60 years of the Millennium Film Workshop, the issue surveys the landscape of contemporary experimental film distribution, and considers what it means to make experimental images today. The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann, anonymous donors; and New York State Council on the Arts. To support the publication of the Millennium Film Journal with a tax-deductible gift, please visit: https://millenniumfilmjournal.com/donations/donation-form/. For subscriptions to the bi-annual Millennium Film Journal, visit: https://millenniumfilmjournal.com/individual-subscriptions/ Programmed by Grahame Weinbren, Vince Warne, and MFJ editors. Chantal Akerman PORTRAIT D’UNE PARESSEUSE (SLOTH) 1986, 7 min, digital Marthe Peters HENRY IS A GIRL WHO LIKES TO SLEEP 2026, 14 min, digital Andrea Luka Zimmerman WHILE THE GODS WERE BUSY WITH ANOTHER CHILD 2026, 25 min, digital Charlotte Pryce THE GLOAMING 2026, 14 min, digital Barbara Hammer Shorts (TBA)

Annie Ling EAST FACING WEST 2026, 60 min, Super-8mm-to-16mm Ektachrome original. Live percussion by Levy Lorenzo. An orientation and a window into a Manhattan Chinatown block witnessed over two years, this debut of a cumulative work-in-progress unfolds as a microcosm of a changing immigrant neighborhood. This expanded cinema performance is part of MONO NO AWARE XX, the 20th anniversary bi-annual exhibition of expanded cinema organized by MONO NO AWARE. The event is all ages, free to attend, and open to the public. RSVP strongly encouraged @ www.mononoawarefilm.com

Non-profit organization MONO NO AWARE presents eight commissioned works on film from 2026. These films had their premiere at the MONO bi-annual festival of expanded cinema, which took place from Dec 2-13 to sold out audiences. The redux program will present the films for anyone who was unable to attend the larger festival program. For a full list of the works in the program, along with descriptions, please visit: https://mononoawarefilm.com/mono-no-aware-xx

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

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

Terence Davies did not have a happy childhood, and his early adulthood was plagued by guilt and anguish over his homosexuality. But film became his outlet for self-expression, and in this trilogy of black-and-white short films, Davies brilliantly laid out the struggles of his bleak early years. In CHILDREN, Davies faces homophobic bullies at school and an abusive father at home. In MADONNA AND CHILD, the adult Davies spends his days visiting his aging mother, and his nights pursuing guilt-inducing sadomasochistic sex. DEATH AND TRANSFIGURATION allows Davies to imagine the circumstances of his twilight years and recall slightly fonder moments from his childhood. Though these brilliant films were underappreciated on their release, they announced Davies as a major talent who became one of the greatest gay filmmakers of all time. What better time could there be than the Christmas season to catch this unrelenting exploration of gay Catholic guilt and existential dread? CHILDREN 1976, 43 min, 16mm-to-DCP MADONNA AND CHILD 1980, 30 min, 16mm-to-DCP DEATH AND TRANSFIGURATION 1983, 23 min, 16mm-to-DCP

1968, 60 min, 16mm-to-digital. Special sequences directed by Gordon Parks; additional photography by Dan Drasin, Paul Glicksberg, Gordon Parks, Jr., and Frank Simon. Digital restoration courtesy of Indiana University Libraries Moving Image Archive. Newsreel EL PUEBLO SE LEVANTA (Newsreel #63) 1971, 42 min, 16mm-to-DCP

Michael Blackwood NEW YORKERS 1971, 29 min, 16mm-to-DCP Tom Simon BEFORE THE FIRST WORD 1982, 29 min, video

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

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

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

Nick Manning HOT BAGELS 1979, 16 min, video Rhody Streeter & Tony Ganz HUBERT’S 1972, 6 min, 16mm Rhody Streeter CLAREMONT STABLES 1972, 9 min, 16mm Karen L. Kramer THE LAST OF THE NEW YORK CIGAR ROLLERS 1990, 13 min, 16mm-to-DCP Barry Braverman MURITA CYCLES 1978, 28 min, 16mm. Archival print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.

Gene Searchinger PARADOX ON 72ND STREET 1982, 58 min, 16mm. Archival print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.

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

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

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

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

SPECIAL SCREENINGS – FILMMAKER IN PERSON! Abigail Child PRECIPICE 2025, 65 min, DCP A profoundly working-class community with an intense connection to its land and water is transformed into a pleasure paradise for the wealthy…all while the ground slips into the sea. The new film by moving-image artist, writer, and poet Abigail Child, PRECIPICE focuses on the intersection between climate change and a changing shore community’s response to this global emergency. It’s been decades since fishing, the engine of Nova Scotia’s last 200 years, collapsed. The result: numerous jobs dried up for independent offshore fishermen. A gold rush on the land fills the vacuum, a double-edged sword of economic activity and environmental deterioration. PRECIPICE documents these challenges and explores how community members work to mitigate the human impact: building back the eroding drumlins, creating oyster farms in local bays, practicing regenerative farming, woodlot conservation and organizing the community to buy land to preserve extant wetlands.

Joe Gibbons PRESENCES 1974-90, 45 min, Super 8mm-to-16mm blow-up. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation. Preceded by: Peggy Ahwesh DOPPELGANGER 1987, 8 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from New York Women in Film and Television’s (NYWIFT) Women’s Film Preservation Fund.

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

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

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

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

Nadine Valcin SIMPLY JOHANNE 2024, 75 min, DCP. In French with English subtitles.

Julia Reichert / Newsreel THE WRECK OF THE NEW YORK SUBWAYS (Newsreel #47) 1969, 16 min, 16mm-to-DCP Nick Lord & Ian Stuttard SUBWAY CITY 1993, 50 min, DCP

Hye Jung Park & J.T. Takagi THE # 7 TRAIN: AN IMMIGRANT JOURNEY 1999, 28 min, DCP Jon Alpert & Keiko Tsuno CHINATOWN: IMMIGRANTS IN AMERICA 1980, 27 min, DCP Tom Tam TOURIST BUSES GO HOME! 1969, 10 min, DCP

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

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

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

Rex Ingram THE MAGICIAN 1926, 88 min, 35mm-to-DCP Preceded by: Kenneth Anger INVOCATION OF MY DEMON BROTHER 1969, 12 min, 16mm

Josephine Hayes Dean THE REBUILDING OF MASCOT FLATS 1992, 59 min, 16mm. Archival print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Newsreel THE CASE AGAINST LINCOLN CENTER (Newsreel #17) 1968, 12 min, 16mm-to-DCP Herbert Danska UPTOWN: PORTRAIT OF THE SOUTH BRONX 1965, 29 min, 16mm. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts; preserved with funding from the New York State Library, Division of Library Development.

This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year! The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat. In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.

Wolfgang Reitherman, Clyde Geronimi, and David Hand THE SWORD IN THE STONE 1963, 79 min, 35mm Preceded by: Georges Méliès LE MAGICIEN 1898, 1 min, 35mm-to-DCP

Derek Jarman THE TEMPEST 1979, 95 min, 35mm-to-DCP Preceded by: Percy Stow THE TEMPEST 1908, 12 min, 35mm-to-DCP

Ghassan Salhab THE VALLEY / AL-WADI 2014, 135 min, DCP. In Arabic with English subtitles.

Jon Alpert & Keiko Tsuno THIRD AVENUE: ONLY THE STRONG SURVIVE 1980, 87 min, DCP

URBAN VIDEO PROJECT This program includes three tapes made by the students at the Lower East Side’s Satellite Academy as part of the Urban Video Project initiative, which have been preserved thanks to the efforts of the XFR Collective, Liz Andersen, and Salvatore LaSpada. NEW YORK, WEST INDIES: VOICES FROM THE JAMAICAN AND TRINIDADIAN MIGRATION 1986, 17 min, video EL PASAJE: RECOLLECTIONS FROM THE PUERTO RICAN MIGRATION 1986, 22.5 min, video EYES ON HARLEM 1987, 29 min, video

John Peer Nugent & Gordon Hyatt WHAT IS THE CITY BUT THE PEOPLE? 1969, 51 min, 16mm-to-DCP. Narrated by William H. Whyte.

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

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

Ralph Bakshi WIZARDS 1977, 80 min, 35mm-to-DCP Preceded by: Tommy Turner THE MAGICIAN 1998, 9 min, 16mm

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

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