(ANTI) COLONIAL TIME Wally Fall PLOWING THE STARS / FOUYÉ ZÉTWAL 2020, 14 min, DCP. In French Creole with English subtitles. Morgan Quaintance MISSING TIME 2019, 15 min, DCP Terence Dixon MEETING THE MAN: JAMES BALDWIN IN PARIS 1971, 26 min, 16mm-to-DCP Hussein Shariffe THE DISLOCATION OF AMBER 1975, 32 min, 16mm-to-DCP. In Arabic with English subtitles.

NEW YORK THEATRICAL PREMIERE RUN! The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body. “A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE Angelo Madsen will be here in person for selected screenings during opening weekend!

Anne-Marie Miéville AFTER THE RECONCILIATION 2000, 74 min, 35mm-to-DCP. In French with English subtitles.

Giulio Questi ARCANA 1972, 102 min, 35mm. In Italian with projected English subtitles. Print from the CSC-Cineteca Nazionale (Rome).

BLACK/QUEER TIME Marlon Riggs BLACK IS…BLACK AIN’T 1995, 87 min, 16mm-to-DCP

Wynn Chamberlain BRAND X 1970, 87 min, 35mm-to-DCP. With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet. Restored in 2014 by Fondazione Cineteca di Bologna. Downtown fixture Elwyn “Wynn” Chamberlain turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling.

FREE SCREENING + TALK! CEIJA STOJKA: MAKING VISIBLE Anthology joins forces with The Drawing Center for a free screening of Austrian filmmaker, writer, and researcher Karin Berger’s highly acclaimed documentary CEIJA STOJKA (1999). Presented on the occasion of The Drawing Center’s exhibition “Ceija Stojka: Making Visible”, on view February 19-June 7, 2026, the film explores the fullness of Stojka’s production as a visual artist, centered in her Roma life and heritage. Spurred by the resurgence of extreme right nationalism in Austria and abroad, and by her experiences as a Holocaust survivor, Stojka created works of profound beauty and horror that resonate today in strikingly contemporary terms. The screening will be followed by a Q&A with Berger, moderated by Swedish documentary filmmaker, author, and journalist Lawen Mohtadi. Karin Berger CEIJA STOJKA 1999, 85 min, 35mm-to-DCP. In German with English subtitles.

CINEMA TIME Mati Diop A THOUSAND SUNS / MILLE SOLEILS 2013, 45 min, 35mm-to-DCP. In Wolof with English subtitles. Onyeka Igwe A SO-CALLED ARCHIVE 2020, 20 min, DCP Ulysses Jenkins MASS OF IMAGES 1978, 4 min, DCP Maxime Jean-Baptiste NOU VOIX 2018, 14 min, DCP. In French with English subtitles. The Otolith Group MASCON: A MASSIVE CONCENTRATION OF BLACK EXPERIENTIAL ENERGY 2024, 36 min, DCP

Robert Siodmak COBRA WOMAN 1944, 72 min, 35mm. With Maria Montez. Preceded by: Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND 1967, 15 min, 16mm

Jean-Luc Godard CONTEMPT 1963, 103 min, 35mm-to-DCP. In English, French, Italian, and German with English subtitles.

CYCLE TIME Barbara McCullough WATER RITUAL #1: AN URBAN RITE OF PURIFICATION 1979, 4 min, 35mm Zeinabu irene Davis CYCLES 1989, 17 min, 16mm-to-DCP Ja’tovia Gary QUIET AS IT’S KEPT 2023, 26 min, Super-8mm-and-16mm-to-DCP Julie Dash FOUR WOMEN 1975, 7 min, 16mm-to-DCP Ayoka Chenzira SYVILLA, THEY DANCE TO HER DRUM 1979, 22 min, 16mm

DEFIANT AND PLAYFUL: FLAHERTY AT 70 AND CINEMA TROPICAL AT 25 The Flaherty Film Seminar and Cinema Tropical join forces to present a special screening celebrating the organizations’ 70th and 25th anniversaries, respectively. Curated by Zaina Bseiso and Carlos A. Gutiérrez, this incisive and defiant program of short films originated from their collaboration at the 70th Flaherty Film Seminar and features artists from across the Global South – Palestine, Puerto Rico, Morocco, Yemen, Lebanon, the Philippines, and Latinx USA – who reclaim humor, popular culture, and aesthetics as spaces of resistance and resilience amid the ominous threat of colonial forces. Timely and resonant, this collection of shorts offers a poignant yet playful polyphony of voices grappling with an increasingly nonsensical geopolitical world. Alex Rivera DÍA DE LA INDEPENDENCIA USA, 1997, 2 min, digital Meriem Bennani LIFE ON THE CAPS: 2. GUIDED TOUR OF A SPILL Morocco, 2020, 15 min, digital Larissa Sansour BETHLEHEM BANDOLERO Palestine, 2004, 6 min, digital Akram Zaatari RED CHEWING GUM Lebanon, 2000, 11 min, digital Asim Aziz 1941 Yemen, 2021, 4 min, digital Sofía Gallisá Muriente THE ENVOY (EVEN IF IT’S NOT MORE THAN A TRUCE) Puerto Rico, 2022, 24 min, digital Jazmin Garcia TROKAS DURAS USA, 2025, 17 min, digital

Sam Feder DISCLOSURE 2020, 100 min, DCP

by Michael Snow 1969, 50 min, 16mm-to-35mm. Restored by Anthology Film Archives with funding provided by the Los Angeles County Museum of Art (LACMA) and The Film Foundation. Special thanks to Dan DeVincent, Simon Lund, and Adam Wangerin (Cineric, Inc.). “This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it’s hard to believe the whole movie is confined to it, and has this neckjerking camera gimmick which hits a wooden stop arm at each end of its swing. Basically it’s a perpetual motion film which ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera’s swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. “In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency.” –Manny Farber, ARTFORUM, 1970

1926, 74 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “[A SIXTH OF THE WORLD] was commissioned by the government trade agency, Gostorg. Vertov called [it] a ‘lyrical cine-poem,’ and he used declamatory titles to address the audience in the manner of Mayakovsky or Whitman. Dramatizing the full expanse of the Soviet Union (as well as demonstrating Vertov’s fast cutting), A SIXTH OF THE WORLD proved his first popular success and attracted considerable attention abroad.” –J. Hoberman, VILLAGE VOICE

1931, 67 min, 35mm, b&w. In Russian with no subtitles; English synopsis available. ENTHUSIASM is Vertov’s vision of the transformation of social energies in a progressive society. The film is remarkable for its experimental use of sound and montage. Vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the Don Basin in this film. It is the best example of his theory of cinema which brings together “the film-eye and the radio-ear.” At one point he described the film as a “symphony of noises.”

1925-26, 73 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “FORWARD, SOVIET! was commissioned by the Moscow soviet for the 1926 elections. Structurally, the film compares prerevolutionary famine and disease with the dynamism of revolutionary life. Then after a sequence on newborn babies, Vertov’s irrepressible futurism bursts forth. Buses and cars hold a political rally without the benefit of their drivers; an extended montage celebrates industrial forms with such gusto as to make Léger’s contemporaneous BALLET MÉCANIQUE seem virtually Luddite.” –J. Hoberman, VILLAGE VOICE

by Erich von Stroheim 140 min, 1924, 35mm, b&w, silent With Gibson Gowland, ZaSu Pitts, and Jean Hersholt. “Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim’s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.” –Dave Kehr, CHICAGO READER

FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) (ca. 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.) FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm. Preserved by Anthology Film Archives.) FILM NO. 14 (LATE SUPERIMPOSITIONS) (1964, 28 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.) “My cinematic excreta is of four varieties: – batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide – they made me gray.” –Harry Smith Total running time: ca. 60 min.

Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc. “NO. 12 can be seen as one moment – certainly the most elaborately crafted moment – of the single alchemical film which is Harry Smith’s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith’s abiding concern with auditory effects.” –P. Adams Sitney

(UMARETE WA MITA KEREDO…) by Yasujiro Ozu (1932, 100 min, 35mm, b&w, silent. With English intertitles.) In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss. “Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas

1925, 78 min, 16mm, b&w, silent. With Russian intertitles; English synopsis available. “KINOGLAZ is a didactic work, centered on episodes which articulate major preoccupations of the young Soviet regime: it deals with the manufacture and distribution of bread,…the processing and distribution of meat, celebrates the constructions of youth camps and discusses the problem of alcoholism. It introduces Vertov’s formal adoption of the articulation of filmmaking technique as his subject. It begins, as well, to suggest what we may understand by ‘the negative of time’ as a key ‘to the Communist decoding of reality.’ Looking for ‘the negative of time,’ we find it in the use of reverse motion as analytic strategy.” –Annette Michelson, “From Magician to Epistemologist”

1929, 104 min, 35mm, b&w, silent. No intertitles. “If Vertov had never made anything other than MAN WITH A MOVIE CAMERA he would still be among the cinema’s greatest masters. A kaleidoscopic city symphony – conjoining Moscow, Kiev, and Odessa in one dizzying metropolis – this is Vertov’s most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie-making to the logic of production. Made without titles, the movie is at once a documentary portrait of the Soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation.” –J. Hoberman, VILLAGE VOICE

(MAT) by Vsevolod I. Pudovkin (1926, 104 min, 35mm, b&w, silent. Based on the novel by Maxim Gorky. In Russian with no subtitles; English synopsis available.) With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories. “In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC

by Jack Smith (1967-70, 45 min, 16mm. Restored print courtesy of the Gladstone Gallery.) “The last of Jack Smith’s 16mm features – austerely black and white, more an exercise in sensibility than craft – evolved out of his November 1967 program, Horror and Fantasy at Midnight. Like Ken Jacobs’s STAR SPANGLED TO DEATH, Horror and Fantasy at Midnight would mix original material with found footage including newsreel footage of the 1940 Republican Convention that nominated Wendell Willkie to run for president. By late March 1968, Horror and Fantasy had coalesced into Kidnapping and Auctioning of Wendell Willkie (sic) by the Love Bandit – an all black-and-white presentation starring writer Irving Rosenthal as the infant Wendell abducted by a mustachioed pirate and sold on the block of a slave market. In early January 1969, the movie had its theatrical premiere as NO PRESIDENT. For musical accompaniment Smith played records and also used the soundtracks of the found material, albeit slowed down for being projected at silent speed. The surviving version NO PRESIDENT alternates scenes shot in the Plaster Foundation with found footage – including a Lowell Thomas travelogue of Sumatra, a clip, apparently from the late 1940s, of an unidentified couple singing ‘A Sunday Kind of Love’, and newsreel footage of candidate Willkie addressing the future Farmers of America. […] Parker Tyler would hail NO PRESIDENT as ‘an even more daring exploitation of the themes in Flaming Creatures, and the Selection Committee for the newly established Anthology Film Archives voted to include both in its canon of essential cinema.” –J. Hoberman

Pat O’Neill SAUGUS SERIES (1974, 19 min, 16mm) SAUGUS SERIES is actually seven short films, united by a common soundtrack. Each is an evolving “still life” made up of meticulously assembled but spatially contradictory elements. “SAUGUS SERIES exhibits the possibilities of the optical printer with considerable self-confidence and élan. The colors are deeply saturated; radically incompatible spaces are meticulously pieced together; moving images are layered in front of each other or masked within ‘negative’ spaces outlined by the absence of an object; a multiplicity of textures and densities and the dynamics of particles in turmoil enliven the imagery. […] The displaced objects and the uncanny juxtapositions of Maya Deren, Kenneth Anger, and Curtis Harrington take on meaning from their relationship to the human figures that encounter them. As such, they become symbolic functions. O’Neill, a native of southern California, seems to be telling us that such a symbolic and psychologically personalized landscape loses its significance in a space like Los Angeles which is so overwhelmed by fragmented representations and gerrybuilt perspectives.” –P. Adams Sitney, MILLENNIUM FILM JOURNAL Hans Richter RHYTHMUS 21 (1921, 3 min, 35mm, b&w, silent) “Its content is essentially rhythm, the formal vocabulary is elemental geometry, and the structural principle is counterpoint of contrasting opposites.” –Standish Lawder TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm, b&w) Produced as a commercial for a German illustrated magazine, this film is an experiment with visual rhymes. EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&w) “Richter’s unique and fascinating view of magic and cruelty in a carnival side-show.” –Cecile Starr Paul Sharits N:O:T:H:I:N:G (1968, 36 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.) “Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated rather than illustrated/time-color energy create virtual shape/in negative time, growth is inverse decay.” –Paul Sharits T,O,U,C,H,I,N,G (1969, 12 min, 16mm.) Preserved by Anthology Film Archives. “Starring poet David Franks whose voice appears on the soundtrack/an uncutting and unscratching mandala.” –Paul Sharits Total running time: ca. 85 min.

S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (1968-70, 41 min, 16mm. NEWLY RESTORED BY ANTHOLOGY FILM ARCHIVES!) “Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized.” –Michael Snow COLOR SOUND FRAMES (1974, 26 min, 16mm. Preserved by Anthology Film Archives.) “A film in which Sharits sums up his researches in the area of film strip (in opposition to the individual frames). The film strips move horizontally and vertically; two strips move simultaneously in opposite directions; variations in color; action of sprocket-holes. Very methodically and scientifically he covers the area. […] COLOR SOUND FRAMES advances one area of cinema or one area of researches in cinema (call it art if you wish) to a new climax, to a new peak: his exploration is so total, so perfect.” –Jonas Mekas, VILLAGE VOICE Total running time: ca. 70 min.

Jack Smith SCOTCH TAPE (1962, 3 min, 16mm) A junkyard musical. FLAMING CREATURES (1963, 45 min, 16mm, b&w) “[Smith] graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.” –FILM CULTURE Ron Rice CHUMLUM (1964, 23 min, 16mm-to-35mm. With Jack Smith, Beverly Grant, Mario Montez, Joel Markman, Frances Francine, Guy Henson, Barry Titus, Zelda Nelson, Gerard Malanga, Barbara Rubin, and Frances Stillman. Music by Angus MacLise. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.) “A hallucinatory micro-epic filmed during lulls in the production of Smith’s NORMAL LOVE and one of the great ‘heroic doses’ of ’60s underground cinema, a movie so sumptuously and serenely psychedelic it appears to have been printed entirely on gauze.” –Chuck Stephens, CINEMA SCOPE Total running time: ca. 75 min.

Karl Freund, Carl Mayer & Walter Ruttmann BERLIN, SYMPHONY OF A CITY / BERLIN, DIE SYMPHONIE DER GROSSTADT (1927, 65 min, 16mm, silent. Archival print courtesy of the UCLA Film & Television Archive.) Ruttmann and company’s seminal, groundbreaking film is a valentine to the ‘new’ Berlin of the late 1920s. Beginning at dawn and ending after midnight, it shows Berliners hard at work by day and possessed by the city’s thriving nightlife. Essentially a feature-length montage, the film was heavily influenced by Soviet documentary experiments like Dziga Vertov’s KINO-PRAVDA and was itself very influential in fostering the ‘city symphony’ genre and other documentary hybrid styles to come. Frank Stauffacher SAUSALITO (1948, 10 min, 16mm) “This film is part ‘city symphony’ and part ‘outtakes for an experimental film.’ Sausalito is the picturesque waterfront town across the Golden Gate Bridge from San Francisco. Stauffacher experiments with slow motion, split screens, and superimposition, all of which are lightened by a constant thread of whimsicality and wit.” –MUSEUM OF MODERN ART Total running time: ca. 80 min.

THE POTTED PSALM and THE PETRIFIED DOG have been preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. MR. FRENHOFFER AND THE MINOTAUR and THE LEAD SHOES have been preserved by Anthology with support from the National Film Preservation Foundation. THE POTTED PSALM (1946, 19 min, 16mm) THE PETRIFIED DOG (1948, 19 min, 16mm) MR. FRENHOFFER AND THE MINOTAUR (1949, 21 min, 16mm) THE LEAD SHOES (1949, 17 min, 16mm) “These images are meant to play not on our rational senses, but on the infinite universe of ambiguity within us.” –Sidney Peterson “Sidney Peterson’s work and sensibility are those of a native American surrealist. Many of his films chronicle the picaresque adventures of a wacky protagonist and use disjunctive editing strategies to construct new time and space relations…. But perhaps their best-known feature is the use of distorted, funhouse mirror-images, which he created by shooting with an anamorphic lens. […] In his films, he investigates extreme states of consciousness, and the primary tool of his epistemology of irrationalism is the photographic image distorted and transformed to register the impact of those states.” –R. Bruce Elder, IMAGE AND IDENTITY Total running time: ca. 80 min.

by F.W. Murnau (1927, 95 min, 35mm, b&w. Script by Carl Meyer based on the story “A Trip to Tilsit” by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O’Brien and Janet Gaynor.) Murnau’s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end. “SUNRISE becomes the lyrical culmination of a strain of German Expressionism that, married to American technology, could almost serve as a definition of the cinema. For the studio apparatus, enabling the creation of a spiritually and spatially unified microcosm, corresponds to the way the mind, in Expressionism, experiences reality – organizing it, imbuing it with personal associations, patterns, significances, until finally the only reality is a mental reality.” –Molly Haskell

1928, 60 min, 35mm, b&w, silent. With Russian intertitles; English synopsis available. “Vertov’s ecstatic paean to industrial development was, like Eisenstein’s OCTOBER, commissioned to celebrate the tenth anniversary of the Bolshevik revolution and was accused of the dread ‘formalism.’” –J. Hoberman, VILLAGE VOICE Preceded by: Excerpts from KINO-PRAVDA 1922, 16 min, 16mm, silent Produced from 1922-25, Vertov’s KINO-PRAVDA was an ongoing series of newsreels that ultimately comprised 23 separate “issues” (of which 22 exist today, albeit some only in fragmentary form). Taken together, they created a record of Soviet life through a mix of documentary, animation, and direct address. The reel screening here showcases excerpts from the series, with footage documenting the reconstruction of the Moscow trolley system, tanks on the labor front, and starving children, and culminating with a fascinating call for “inquiries regarding traveling film shows.”

(FRANCESCO, GIULIARE DI DIO) by Roberto Rossellini (1949, 85 min, 35mm, b&w. In Italian with English subtitles.) “Roberto Rossellini’s buoyant 1950 masterpiece is a glorious hallucination of perfect harmony between man and nature. The Franciscans arrive at Assisi in the first reel and leave in the last. In between, as they say, nothing happens and everything happens. Rossellini is able to suggest the scope and rhythm of an entire lost way of life through a gradual accumulation of well-observed detail. The Franciscans are at once inspired and slightly foolish, but Rossellini maintains a profound respect for the grandeur of their delusions. A great film, all the more impressive for being apparently effortless.” –Dave Kehr

(LA RÈGLE DU JEU) by Jean Renoir (1939, 97 min, 35mm, b&w. In French with English subtitles.) “Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir’s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema’s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.” –Robin Wood

1934, 60 min, 35mm, b&w. In Russian with no subtitles; English synopsis available. “Vertov’s ‘official’ Soviet masterpiece – a hagiographic compilation of lyrically edited stock footage and cinema’s first direct interviews – was the most successful (and compromised) movie he ever made.” –J. Hoberman, VILLAGE VOICE

by Michael Snow 1967, 45 min, 16mm “WAVELENGTH is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a ‘triumph of contemplative cinema.’” –Gene Youngblood, L.A. FREE PRESS

John Boorman EXCALIBUR 1981, 140 min, 35mm-to-DCP

FAMILY TIME Thomas Allen Harris VINTAGE: FAMILIES OF VALUE 1995, 72 min, 16mm Preceded by: Cheryl Dunye AN UNTITLED PORTRAIT 1993, 3 min, DCP

Jill Godmilow FAR FROM POLAND 1984, 110 min, 16mm. Made in collaboration with Andrzej Tymowski, Susan Delson, and Mark Magill. Preserved by the Academy Film Archive.

Federico Fellini FELLINI’S CASANOVA 1976, 155 min, 35mm. In English, Italian, French, and German with English subtitles.

Paul Verhoeven FLESH + BLOOD 1985, 126 min, 35mm

Frédéric Pardo HOME MOVIE: TINA AUMONT 1968, 8.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. HOME MOVIE: ON THE SET OF PHILIPPE GARREL’S ‘LE LIT DE LA VIERGE’ / HOME MOVIE, AUTOUR DU ‘LIT DE LA VIERGE’ 1968, 39 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. GARREL, NICO, FREDERIC ET TINA, APPARTEMENT RUE DUPONT DES LOGES 1970, 16.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.

Andy Milligan GURU, THE MAD MONK 1970, 56 min, 35mm

Sam Feder HEIGHTENED SCRUTINY 2025, 85 min, DCP

Frank Tashlin HOLLYWOOD OR BUST 1956, 95 min, 35mm-to-DCP

Frédéric Pardo HOME MOVIE: NEW YORK 1968, 20 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française. Ivan Galietti ANTI STAR TINA AUMONT 2025 (work in progress), ca. 30 min, digital. In English, French, and Italian with English subtitles.

DEAN MAJD PRESENTS HUSBANDS Dean Majd’s “Hard Feelings” is a decade-long odyssey documenting the interpersonal dynamics of the artist’s circle, steeped in the skateboarding and graffiti communities of Queens, New York. An exploration of collective grief, brotherhood, and gender roles within relationships, “Hard Feelings” finds Majd tracing the shifts in emotional landscapes through the performance of contemporary masculinity. In conjunction with the artist’s first solo exhibition at Baxter St. at CCNY, Majd and Anthology are pleased to present special screenings of John Cassavetes’s HUSBANDS (1970), a poignant meditation on embodied grief and self-destruction. “Framed by Cassavetes’s kinetic script and direction, HUSBANDS depicts a trio of men in regressive mourning over the loss of a friend: fighting, screaming, and crying across the city as they process their grief. I saw myself and my friends in these men as the loss of our friend took us to dark places over the course of a decade in New York, eventually forming ‘Hard Feelings’. Thematically and visually, HUSBANDS was a mirror of my experiences, but more importantly, a premonition of my future.” –Dean Majd Following the screening on Thursday, March 5, Majd will be joined in conversation by David Campany, Creative Director at the International Center of Photography. John Cassavetes HUSBANDS 1970, 142 min, 35mm. 35mm preservation print courtesy of the UCLA Film & Television Archive.

JAZZ TIME Edward O. Bland THE CRY OF JAZZ 1959, 34 min, 16mm-to-35mm. Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium. Alain Gomis REWIND & PLAY 2022, 65 min, DCP. In English and French with English subtitles.

Jean-Luc Godard KEEP YOUR RIGHT UP / SOIGNE TA DROITE 1987, 82 min, 35mm. In French with English subtitles.

PROGRAM 1: SOUND/IMAGE (DISORIENTATION) LITTLE STABS AT HAPPINESS 1959-63, 18 min, 16mm. With Jack Smith. Preserved by Anthology Film Archives. BLONDE COBRA 1959-63, 35 min, 16mm-to-35mm blow-up. Made in collaboration with Bob Fleischner. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation. ARTIE AND MARTY ROSENBLATT’S BABY PICTURES 1963, 4 min, 8mm-to-16mm, silent. Preserved by Anthology Film Archives. Preservation Premiere! GLOBE 1969, 22 min, 16mm, Pulfrich 3D. Preserved by Anthology Film Archives through the Avant-Garde Masters Program funded by The Film Foundation and administered by the National Film Preservation Foundation.

PROGRAM 2: THE DOCTOR’S DREAM 1977, 24 min, 16mm, b&w. Preserved by SUNY Binghamton through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. DISORIENT EXPRESS 1996, 30 min, 16mm, silent GEORGETOWN LOOP 1996, 11 min, 35mm, silent

PROGRAM 3: LATE DIGITAL WORK, PART 1 Guest-programmed by Andrew Lampert. THE WHOLE SHEBANG 2019, 5 min, digital HOFFMAN STUDENT 2022, 4.5 min, digital ASPIRING TO MUSIC 2021, 7 min, digital IN FRONT OF ANTHOLOGY 2021, 2 min, digital WHEN TIMOFEEV MOVES, EVERYTHING MOVES 2022, 12.5 min, digital DIMSUM AND DRAGONS 2019, 9 min, digital UP THE ILLUSION 2023, 23 min, digital

PROGRAM 4: LATE DIGITAL WORK, PART 2 Guest-programmed by Andrew Lampert. THE LOWDOWN ON THE ETERNALISM AND ITS LIMITATION IN CONVEYING REALITY 2024, 2 min, digital BMT 2025, 2 min, digital A SPIN THROUGH NIGHT CITY 2017, 4 min, digital FROM INTRODUCTION TO ORSON WELLES’ FALSTAFF; CHIMES AT MIDNIGHT 2022, 4.5 min, digital CARTOONISH 1-10 2021, 10 min, digital EAT THE RICH: ALIGNING PERSPECTIVES AND OTHER CHALLENGES TO VIEWERS 2022, 10 min, digital FAILURE 2019, 28 min, digital

PROGRAM 5: FLO JACOBS CYCLOPEAN 3D: LIFE WITH A BEAUTIFUL WOMAN 2011, 47 min, digital, silent Preceded by: FLO ROUNDS A CORNER 1999, 6 min, digital, silent

PROGRAM 6: THE WHIRLED 1956-63 [compiled in early 1990s], 19 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. THE SKY SOCIALIST: ENVIRONS AND OUT-TAKES Filmed 1964-66/completed 2019, 47 min, 8mm-to-digital, silent. Restored by Anthology Film Archives with support from the National Endowment for the Arts.

PROGRAM 7: STEVE ANKER SELECTS: KEN JACOBS – LOST WORLDS IN DEPTH AMOROUS INTERLUDES 2007, 8 min, digital THE SURGING SEA OF HUMANITY 2006, 10.5 min, digital THINGS TO COME 2019/22, 31.5 min, digital KRYPTON IS DOOMED 2005, 34.5 min, digital

PROGRAM 8: STEVE ANKER SELECTS: LATE ETERNALISMS – NEW YORK VIEWS AND BEYOND BOOK OF ETERNALISMS 43 2025, 13 min, digital TOURISTS OF THE FAMILIAR 70 2024, 17 min, digital ABOVE THE RAIN 2019, 13 min, digital MANHATTAN IS AN ISLAND 2023, 21.5 min, digital HOBGOBLIN BALL 2023, 5.5 min, digital

PROGRAM 9: ESSENTIAL CINEMA TOM, TOM, THE PIPER’S SON 1969, 115 min, 35mm, silent. Restored by the Museum of Modern Art. Preceded by: AIRSHAFT 1967, 4 min, 16mm, silent. Preserved by Anthology Film Archives.

KINO-PRAVDA NOS. 1-6 1922, 55 min, 35mm-to-DCP. Courtesy of the Austrian Film Museum. “Between 1922 and 1925, a total of 23 issues of Dziga Vertov’s newsreel series KINO-PRAVDA (KINO-TRUTH) appeared (albeit irregularly and in very few copies). Vertov’s goal was to create a kind of ‘screen newspaper’; the title is a tribute to the newspaper Pravda founded by Lenin. Just like the KINONEDELJA (KINO-WEEK) newsreel series (1918-19), the KINO-PRAVDA issues offer a fascinating insight into the early Soviet Union and demonstrate the rapid development of Vertov’s film language. The 22 surviving issues (No. 12 is lost) have been digitized and subtitled in German and English by the Austrian Film Museum.” –AUSTRIAN FILM MUSEUM [For more info about Vertov and the KINONEDELJA and KINO-PRAVDA series, including streaming videos, visit: vertov.filmmuseum.at/en]

Philippe Garrel LES HAUTES SOLITUDES 1974, 82 min, 35mm-to-DCP. No dialogue.

Lee Breuer MABOU MINES DOLLHOUSE 2008, 124 min, DCP

Lee Breuer THE RED HORSE ANIMATION 1974, 38 min, video Lee Breuer, Chris Coughlan, and Craig Jones THE B. BEAVER ANIMATION 1979, 32 min, video Lee Breuer SISTER SUZIE CINEMA 1982, 19 min, 16mm-to-DCP

JoAnne Akalaitis OTHER CHILDREN 1979, 19 min, 16mm-to-DCP JoAnne Akalaitis DEAD END KIDS: A HISTORY OF NUCLEAR POWER 1986, 87 min, 16mm-to-DCP

Jill Godmilow MABOU MINES’ LEAR ’87 ARCHIVE (CONDENSED) 2001, 336 min, video LEAR ’87 ARCHIVE will be presented in two parts: the first half (ca. 175 min) will screen on Sat, Mar 14 at 4:00, and the second half (ca. 170) will screen on Sun, Mar 15 at 4:00. The screening on Sat, Mar 14 will be followed by a Q&A with Alisa Solomon and actor Greg Mehrten.

Jill Godmilow MABOU MINES’ LEAR ’87 ARCHIVE (CONDENSED) 2001, 336 min, video LEAR ’87 ARCHIVE will be presented in two parts: the first half (ca. 175 min) will screen on Sat, Mar 14 at 4:00, and the second half (ca. 170) will screen on Sun, Mar 15 at 4:00. The screening on Sat, Mar 14 will be followed by a Q&A with Alisa Solomon and actor Greg Mehrten.

Jean-Luc Godard MADE IN U.S.A. 1966, 85 min, 35mm. In French with English subtitles.

U.S. PREMIERE! Chris Gude MORICHALES U.S./Colombia, 2024, 83 min, 16mm-to-DCP. In Spanish with English subtitles. MORICHALES is a lyrical, immersive documentary that journeys deep into Venezuela’s Guayana region, where vast gold reserves lie hidden beneath groves of moriche palms. Guided by a fictional explorer’s voice, the film moves from remote jungle mining camps to the banks of the Orinoco River, mapping the extraction and commercialization of gold while questioning extractive practices and humanity’s fraught relationship with the land. Using evocative visuals, hand-drawn illustrations, 16mm film, and atmospheric sound, and through the voices and labors of the miners, the film explores the destructive relationship between people, land, and the global demand for resources. Juxtaposing the slow processes of geology with the urgency of extractive capitalism, MORICHALES becomes a poetic meditation on fortune, survival, ecological cost, nature, labor, and value.

CO-PRESENTED BY SNIFFIES Todd Verow BEHIND THE OPEN DOOR 2025, 93 min, DCP With the skill and precision of an Olympic athlete, content creator Corey Hudsonn meticulously conducts an all-night sexual marathon with the aim of collecting as much semen in his butt as possible. As director Todd Verow’s camera chronicles the literal ins and outs of Hudsonn’s piggy pursuits, we listen to the British bottom explain the best practices, etiquette, and psychology behind the now commonplace fetish for cumdumping. Minimalist, fly-on-the-wall and completely explicit, the latest film from NYC’s prolific gay underground auteur Todd Verow is a sequel to his notorious 2012 doc BOTTOM, which chronicled the experiences of another ravenous bareback sex enthusiast. Whereas BOTTOM’s shock value came from viewers’ awareness of the risks associated with cumdumping before PrEP and Doxycycline became standard safety tools, BEHIND THE OPEN DOOR’s subject embraces his pursuit of pleasure without qualifications. Following a much-discussed premiere at 2025’s Berlin Porn Film Festival, we’re happy to be the first to premiere the film in the U.S., with director Todd Verow in attendance to introduce the film.

NEW BODY, SAME TRASH: PROGRAM 1 In a series of languid gestures, “New Body, Same Trash: Program 1”, moves us through three encounters drawing on memory and observation – firstly with the animal world, secondly with the socio-historical world, and lastly, the ecological world. Carlos Llaó GREY AT NIGHT / SON PARDOS 2023, 30 min, DCP Pol Merchan GARDEN OF FAUNS / EL JARDÍN DE LOS FAUNOS 2022, 25 min, DCP Ohan Breiding BELLY OF A GLACIER 2024, 33 min, DCP

NEW BODY, SAME TRASH: PROGRAM 2 The films in this program are steeped in language, excess, and the relationship to the apparatus of filmmaking. Moss Berke & Biana Arnold LUMINOUS MATTER 2025, 15 min, DCP Justice Jamal Jones NOTES ON A SIREN 2022, 11 min, DCP Lasse Långström THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS 2024, 15 min, DCP Jake Brush THIS UNREMARKABLE LIFE 2025, 18 min, DCP

Jack Smith NORMAL LOVE 1963, 120 min, 16mm. With Mario Montez.

Jean-Luc Godard NOUVELLE VAGUE 1990, 90 min, 35mm. In French with English subtitles.

U.S. PREMIERE! Daniela Seggiaro OUR DEMAND / SENDA INDIA Argentina, 2023, 80 min, DCP. In Spanish and Wichí with English subtitles. In the early 1990s, as the Wichí community of northern Argentina fought for legal recognition of their ancestral territory, a young man named Miguel Ángel Lorenzo began filming what he knew best: everyday life. With a Hi8 camcorder in hand, he recorded walks through the forest, and shared routines, school gatherings, visits between neighbors, and moments when the outside world intruded – including the presence of a judge. Decades later, filmmaker Daniela Seggiaro returns to these images, assembling a film shaped by Indigenous perspectives and community memory. OUR DEMAND moves beyond the courtroom to reveal a worldview in which land is not property but a living relationship, where language, forest, and communal life are inseparable. The result is a quietly powerful testament to a struggle that is at once legal, cultural, and profoundly existential.

Bernardo Bertolucci PARTNER 1968, 112 min, 35mm-to-DCP. In Italian and French with English subtitles. Preceded by: Paola Rispoli JAKOB IL REALE E SOSIA IL VERO 1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.

PIERRE CLÉMENTI PROGRAM LA RÉVOLUTION N’EST QU’UN DÉBUT. CONTINUONS LE COMBAT 1968, 22 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française. POSITANO 1969, 28 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française.

Jean-Luc Godard PIERROT LE FOU 1965, 110 min, 35mm. In French with English subtitles.

REBEL TIME Isaac Julien YOUNG SOUL REBELS 1991, 105 min, 35mm-to-DCP

RETURNING TIME Med Hondo & Bernard Nantet BALLADE AUX SOURCES 1965, 31 min, 16mm-to-DCP. Collection Ciné-Archives. Ben Caldwell I & I: AN AFRICAN ALLEGORY 1979, 32 min, 16mm Ephraim Asili FLUID FRONTIERS 2017, 23 min, 16mm-to-DCP

Caroline Golum REVELATIONS OF DIVINE LOVE 2025, 73 min, DCP “Julian of Norwich is considered the first woman to have written a book in English in the 14th century, based on sixteen revelations. Caroline Golum has chosen to portray the mystical anchorite between Christian visions and the desire to write – or between the desire for Christ and literary visions – in the form of an irreverent biopic with an ever-topical feminist approach. […] Even though Golum rejects verisimilitude and does not shy away from psychedelic fantasy overtones, she remains committed to reality. Or rather, to matter. Always rooted in the idea of vision, each shot expresses the joy of arts and crafts, exalting colors, faces, and the pleasure of composition that sets the distance between characters. The film is infused with a joyful, crude sensuality. It is as much about the body as the mind. […] Mischievously reducing Christ’s teaching to a humble but precious hazelnut, REVELATIONS OF DIVINE LOVE uses the religious motif and the quest for transcendence to argue that cinema remains the organizing principle of matter in this world, and that there is perhaps no act more beautiful than that of seeing. Quite a profession of faith.” –Claire Lasolle, FID MARSEILLE “With its slow pace and the deliberate diction of her performers, Golum has produced a film of classical rigor and a not inconsiderable didactic impulse. In visual style, REVELATIONS echoes the Brechtian approach of Manoel de Oliveira, with his clear signifiers of the period coexisting with a haunted, atmospheric modernity. But probably the most apposite points of comparison are the late educational films of Roberto Rossellini.” –Michael Sicinski, IN REVIEW ONLINE

PROGRAM 1: BIRTH: THE UNTUTORED EYE Stan Brakhage WINDOW WATER BABY MOVING 1959, 12 min, 16mm, silent. Preserved by Anthology Film Archives. Carla Simón LETTER TO MY MOTHER FOR MY SON / CARTA A MI MADRE PARA MI HIJO (MIU MIU WOMEN’S TALES #24) 2022, 24 min, DCP. In Spanish and Catalan with English subtitles. Agnes Varda L’OPÉRA-MOUFFE 1958, 16 min, 16mm-to-DCP. In French with English subtitles. Marie Menken HURRY! HURRY! 1957, 3 min, 16mm. Preserved by Anthology Film Archives. Priya Sen STORIES OF US: FOOTNOTES FROM EMERALD ISLAND 2015, 12 min, DCP Kiro Russo NUEVA VIDA 2015, 15 min, DCP. In Spanish with English subtitles.

PROGRAM 2: EARTH: ANIMAL, VEGETABLE, MINERAL: THE FILMS OF ERIN ESPELIE Erin Espelie THE LANTHANIDE SERIES 2014, 70 min, DCP Erin Espelie 视网膜 (A NET TO CATCH THE LIGHT) 2016, 7 min, 16mm-to-DCP Erin Espelie 内共生 (INSIDE THE SHARED LIFE) 2017, 9 min, 16mm-to-DCP

PROGRAM 3: SCREEN: THE VIDEO ESSAY: A NEW AVANT-GARDE? Maryam Tafakory IRANI BAG 2021, 8 min, DCP Carlos Adriano UNTITLED #4: IN SPITE OF RUIN, SING IN THE RAIN / SEM TITULO #4: APESAR DOS PESARES, NA CHUVA HÁ DE CANTARES 2018, 27 min, DCP. In Portuguese with English subtitles. Jennifer West FILM TITLE POEM 2016, 67 min, 35mm-to-DCP Kevin B. Lee & Lého Galibert-Laîné READING BINGING BENNING 2018, 11 min, DCP

PROGRAM 4: SKY: “THE TIMELESS CANVAS” Takahiko Iimura KIRI (FOG) 1970, 5 min, 16mm, silent Yoko Ono & John Lennon APOTHEOSIS 1970, 18 min, 16mm-to-digital Tadhg O’Sullivan TO THE MOON 2020, 76 min, DCP Lois Patiño FAJR 2017, 12 min, 16mm-to-DCP

Jerry Lewis SMORGASBORD (aka CRACKING UP) 1983, 89 min, 35mm

STEPHANIE BARBER: JHANA AND THE RATS OF JAMES OLDS or 31 DAYS/31 VIDEOS An artist and filmmaker possessed of an entirely unique approach that’s attuned to the nuances of both the moving image and language, Stephanie Barber’s film and video works meld together elements of photography, poetry, music, and live performance, and display a sensibility that’s at once comical, lyrical, and melancholy. We’ve had the pleasure of hosting Barber several times over the years, for screenings of her numerous short films and her features DAREDEVILS (2013) and IN THE JUNGLE (2017). This March, we welcome her back for a presentation of a project that’s unique even within her singular body of work. Between June 25 and August 7, 2011, Barber moved her studio into the Baltimore Museum of Art, where she created a new video each day in a central gallery open to museum visitors. The goal of this project, entitled JHANA AND THE RATS OF JAMES OLDS or 31 DAYS/31 VIDEOS, was to create a series of short, poetic videos in the playful and serious footprints of daily meditations and the literary games of the Oulipo movement. The exhibit was both a constantly changing installation and a collaborative performance in which museum visitors were present as spectators and often creative partners. To mark the forthcoming release (by Video Data Bank) of a DVD compilation devoted to the project, Stephanie Barber will be here in person for a special screening / talk / performance, during which she’ll present a selection of videos drawn from the series and share stories about the process of creating and exhibiting them.

STORY TIME Gaston Kaboré GOD’S GIFT / WEND KUUNI 1982, 75 min, 35mm-to-DCP. In More with English subtitles. Digitally restored by the Cinémathèque Royale de Belgique.

Alain Resnais’s THE SONG OF STYRENE – one of the greatest of all sponsored films – which transforms the industrial production of plastics into a hypnotic symphony of eye-popping colors, rhythms, and textures, is here paired with three other visually astounding and mind-altering sponsored films about similarly “futuristic” industrial products. Hans Richter THE BIRTH OF COLOR / DIE GEBURT DER FARBE 1938, ca. 25 min, 35mm-to-DCP. Commissioned by Swiss chemical and dye company Geigy. Alain Resnais THE SONG OF STYRENE / LE CHANT DU STYRÈNE 1958, 13 min, 35mm-to-DCP. Narration by Raymond Queneau. Commissioned by French industrial group Pechiney. Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND 1959, 21 min, 35mm-to-DCP Pierre Moretti MODULO: VARIATIONS ON A DESIGN 1973, 7 min, 35mm-to-DCP

SURVIVING TIME Michelle Parkerson & Ada Gay Griffin A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE 1995, 90 min, 16mm-to-DCP. Co-presented by NewFest, New York’s largest presenter of LGBTQ+ film & media; for more info visit: https://newfest.org

Michael Curtiz & William Keighley THE ADVENTURES OF ROBIN HOOD 1938, 102 min, 35mm

Pier Paolo Pasolini THE CANTERBURY TALES / I RACCONTI DI CANTERBURY 1972, 122 min, 35mm. In Italian with English subtitles.

Jerry Lewis THE ERRAND BOY 1961, 92 min, 35mm. Print from the Chicago Film Society collection at the University of Chicago Film Studies Center.

Jerry Lewis THE FAMILY JEWELS 1965, 99 min, 35mm. Technicolor print!

Tinto Brass THE HOWL / L’URLO 1968, 95 min, 35mm-to-DCP

Jerry Lewis THE LADIES MAN 1961, 95 min, 35mm. Print from the Chicago Film Society.

Roger Corman THE MASQUE OF THE RED DEATH 1964, 89 min, 35mm

Jerry Lewis THE NUTTY PROFESSOR 1963, 107 min, 35mm

Philippe Garrel THE VIRGIN’S BED / LE LIT DE LA VIERGE 1969, 95 min, 35mm. In French with English subtitles.

SPECIAL SCREENINGS! C.W. Winter & Anders Edström THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) 2020, 480 min (plus one 45-min-intermission and two 15-min intermissions), DCP. In Japanese, English, and Swedish with English subtitles. Distributed by Grasshopper Film. One of the most extraordinary works of contemporary cinema in recent memory – a film that is at once monumental, thematically and formally ambitious, and yet profoundly humble – C.W. Winter & Anders Edström’s THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) garnered lavish praise upon its release. But appearing in NYC in the summer of 2021, when moviegoing had not yet fully rebounded in the wake of the pandemic, it never received its full due from audiences. These encore screenings aim to give NYC viewers a second chance to experience it in the cinema. THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) is an extraordinary eight-hour fiction feature shot for a total of 27 weeks, over a period of 14 months, in a village of 47 inhabitants in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer – a portrait, over five seasons, of a family, of a terrain, of a soundscape, and of duration itself. It is a film that takes the time to spend time and hear people out, with a performance by Tayoko Shiojiri that binds fiction and actual bereavement into a heartbreaking indeterminability. “An utterly confident, magisterial effort that will stand the test of time.” –Mark Peranson, CINEMA SCOPE MAGAZINE

Jerry Lewis THREE ON A COUCH 1966, 109 min, 35mm

Sergio Martino TORSO 1973, 90 min, 35mm-to-DCP

Jean-Luc Godard TOUT VA BIEN 1972, 96 min, 35mm-to-DCP. In English and French with English subtitles.