quarterly pdf - Anthology Film Archives

Anthology Film Archives Film Program,
Cover artwork LandOLakes (for Owen Land) by Peggy Ahwesh, 2012, all rights reserved.
Staff
Board of Directors
Jonas Mekas
John Mhiripiri,
Jed Rapfogel
Wendy Dorsett
Ava Tews
Kevin Duggan, Interim Director of Development
Marcine Miller, Publicity Coordinator
Honorary Board
René Smith, Special Events Coordinator
Collections Staff
Robert A. Haller
Andrew Lampert
John Klacsmann
Erik Piil
Board of Advisors
Theater Staff
Tim Keane
Bradley Eros
Rachelle Rahme,
Christopher Nazzaro
Phillip Gerson
Composer in Residence
Projectionists
Box Office
New Filmmakers Coordinators
Barney Oldfield,
Bill Woods,
Researchers & Interns:
Anthology Film Archives

NOTE ON THE PROGRAM & COVER:
Our Film Schedule is arranged by program. For a
chronological listing of screenings, please see the
calendar on pages 15-17.
The cover of this issue of Anthology Film Archives
Film Program is LandOLakes (for Owen Land)
by Peggy Ahwesh, © 2012, all rights reserved.
ANTHOLOGY FILM ARCHIVES
JANUARY–MARCH 2013
ESSENTIAL CINEMA
PREMIERES
HORS SATAN
NANA
ONCE EVERY DAY
THE UNSPEAKABLE ACT
AFA PRESERVATIONS
Stuart Sherman
Bruce Conner
RETROSPECTIVES
Dan Sallitt
Stephen Dwoskin
SERIES-ONGOING
Show & Tell
SERIES
Sandy Redux
Amos Vogel
CALENDAR AT–A–GLANCE
SERIES, cont’d
Japanese Avant-Garde
Andrew Sarris
SPECIAL SCREENINGS
Barbara Rubin
Brooklyn-Montreal: Videozones
New York Women in Film & Television
Peggy Ahwesh & Joe Gibbons
Jonas Mekas MY MARS BAR MOVIE
Valentine’s Day Massacre
Members-Only: Cronenberg STEREO
Beats on Film
Screen Loud Film Festival
Unessential Cinema
The Secret Life of…AFA
NEWFILMMAKERS
FESTIVALS
INDEX
2
4
5
6
7
7
8
9
11
12
15-17
19
20
22
23
24
25
26
26
30
32

2
ESSENTIAL CINEMA
CHUMLUM
THE GREAT BLONDINO THE RULES OF THE GAME
ESSENTIAL CINEMA
A very special series of films screened on a repertory basis, the Essential Cinema Repertory collection consists of 110 programs/330 titles assembled
in 1970-75 by Anthology’s Film Selection Committee – James Broughton, Ken Kelman, Peter Kubelka, P. Adams Sitney, and Jonas Mekas.
It was an ambitious attempt to define the art of cinema. The project was never completed but even in its unfinished state the series provides an
uncompromising critical overview of cinema’s history.
AND REMEMBER: ALL ESSENTIAL CINEMA SCREENINGS ARE FREE FOR AFA MEMBERS!
ROBERT NELSON
THE GREAT BLONDINO
1967, 42 min, 16mm. Newly preserved print; thanks to the Academy Film
Archive!
“The original Blondino was a 19th-century tightrope artist who
among other feats crossed Niagara Falls trundling a wheelbarrow.
In this film, Nelson sees Blondino as a metaphor for those who
still try. Too subtle to be allegorical, the picture is in the shape of
a quixotic search in which the goal is the journey and the means
is the end.” –MUSEUM OF MODERN ART
“It is…difficult to get at the rich visual texture that is the film’s
most striking attribute. Long stretches are concerned with
Blondino’s visions, dreams, and dreams within dreams. The film
unfolds in brief recurring patterns of imagery. Even the more
straightforward sections are dense with interpolated newsreel
and TV commercial footage, visual gags, and homemade
special effects. The net effect is funny, seamless, and elusive.”
–J. Hoberman, “A Filmmakers Filming Monograph”
&
BLEU SHUT
1970, 33 min, 16mm. Newly preserved print; thanks to the Academy Film
Archive!
“Boat-name quizzes, dogs, cuts from Dreyer’s JOAN OF ARC
in montage with a sultry whore, a car running up a ramp and
crashing, pornography, a passionate embrace by a thirties hero
and heroine; all somehow implicating Dreyer and Joan in the
perverse synthesis of sex and technology. What’s happening
here? Basically Nelson is leaving things unsaid.” –Leo Regan
Total running time: ca. 80 min.
–Sat, January 12 at 4:00.
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Vsevolod I. Pudovkin
MOTHER / MAT
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. A student of Kuleshov and an admirer of
Griffith’s films, he was writing his first book of film theory at the
same time he was making MOTHER. 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.
–Sat, January 19 at 4:00.
RICE / RICHTER / SHARITS
Ron Rice
CHUMLUM 1964, 23 min, 16mm
With Jack Smith, Mario Montez, Gerard Malanga.
“One of the underground’s best and most influential
films.” –Peter Gidal
Hans Richter
RHYTHMUS 21 1921, 3 min, 16mm, 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
EVERYTHING REVOLVES, EVERYTHING TURNS /
ALLES DREHT SICH, ALLES BEWEGT SICH
1929, 9 min, 16mm, b&w, silent
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.”
–P.S.
“In essence there are only three flicker films of
importance, ARNULF RAINER, THE FLICKER, and
N:O:T:H:I:N:G…. [I]t is Sharits’s N:O:T:H:I:N:G that opens
the field for the structural film with a flicker base.”
–P. Adams Sitney
T,O,U,C,H,I,N,G 1969, 12 min, 16mm Preserved by Anthology!
Starring poet David Franks whose voice appears on the
soundtrack/an uncutting and unscratching mandala.
“Merges violence with purity.” –P. Adams Sitney
“Surrealist tour de force.” –Parker Tyler
Total running time: ca. 90 min.
–Sun, January 20 at 4:00.
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Yasujiro Ozu
THERE WAS A FATHER / CHICHI ARIKI
1942, 87 min, 35mm. In Japanese with English subtitles.
A schoolteacher wants his son to marry before entering
military service. A key film in Ozu’s career – many critics
feel it is here that his early experimental period ends and
his later mature period begins.
–Sat, February 2 at 4:45 and Sun,
February 3 at 6:00.
Jean Renoir
THE RULES OF THE GAME /
LA RÈGLE DU JEU
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
–Sat, February 2 at 6:45 and
Sun, February 3 at 8:00.
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Roberto Rossellini
THE FLOWERS OF ST. FRANCIS /
FRANCESCO, GIULIARE DI DIO
1949, 85 min, 35mm, b&w. In Italian with English
subtitles.
Francesco (St. Francis of Assisi) comes back to
Santa Maria degli Angeli from Rome, journeying
with his friars through the rain. When they
are driven out of a hut, he begs the brothers’
forgiveness for abusing their obedience. While
the monks are finishing the chapel, Brother
Ginepro arrives naked again and confesses
that the previous night he was tempted by the
Devil. Later, he cuts the foot off a pig to feed a
sick brother. That evening, Francesco meets a
leper and kisses him. Brother Ginepro receives
Francesco’s permission to preach and arrives
at the camp of Nicolaio, the tyrant of Viterbo,
whose cruelty he overcomes with his perfect
humility. Francesco teaches Brother Leone that
bearing injuries and blows is an example of
perfect joy. Francesco sends his brothers out
to preach far and wide.
–Sat, February 2 at 9:00 and
Sun, February 3 at 4:00.

THE QUEEN OF SHEBA MEETS THE ATOM MAN NO 12: HEAVEN AND EARTH MAGIC
RON RICE
SENSELESS
1962, 28 min, 16mm
“Consisting of a poetic stream of razor-sharp images, the
overt content of SENSELESS portrays ecstatic travelers
going to pot over the fantasies and pleasures of a trip to
Mexico.... Highly effective cutting subtly interweaves the
contrapuntal development of themes of love and hate, peace
and violence, beauty and destruction.” –David Brooks
&
THE FLOWER THIEF
1960, 59 min, 16mm, b&w. Starring Taylor Mead. Preserved by
Anthology Film Archives with support from the National Film Preservation
Foundation.
“In the old Hollywood movie days movie studios would keep
a man on the set who, when all other sources of ideas failed
(writers, directors), was called upon to ‘cook up’ something
for filming. He was called The Wild Man. THE FLOWER THIEF
has been put together in memory of all dead wild men who
died unnoticed in the field of stunt.” –R.R.
Total running time: ca. 90 min.
–Sat, February 16 at 6:00.
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Ron Rice
THE QUEEN OF SHEBA MEETS THE ATOM
MAN
1963/82, 109 min, 16mm, b&w
“The film describes, poetically, a way of living. The film is
a protest which is violent, childish, and sincere – a protest
against an industrial world based on the cycle of production
and consumption.” –Alberto Moravia, L’ESPRESSO
–Sat, February 16 at 8:00.
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HARRY SMITH
EARLY ABSTRACTIONS
1941-57, 23 min, 16mm. Preserved by Anthology Film Archives with
support from the National Film Preservation Foundation.
MIRROR ANIMATIONS extended 1979 version, 11 min, 35mm
New Print!
LATE SUPERIMPOSITIONS 1964, 28 min, 16mm
OZ, THE TIN WOODMAN’S DREAM 1967, 15 min, 35mm
“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; semirealistic
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.” –H.S.
Total running time: ca. 80 min.
–Sun, February 17 at 6:00.
ESSENTIAL CINEMA
Harry Smith
NO 12: HEAVEN AND EARTH MAGIC
1950-61, 66 min, 16mm, b&w. 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
–Sun, February 17 at 8:00.
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Leni Riefenstahl
TRIUMPH OF THE WILL / TRIUMPH DES WILLENS
1934-35, 106 min, 35mm, b&w
“The official Nazi record of the 1934 Nuremberg Party rally,
commissioned by Hitler and directed by Leni Riefenstahl, [it] is
one of the most controversial contributions to film history because
of its subject matter – her insistence that the film is solely a work
of art and not propaganda; and the presentation of the subject
matter – the manipulation of reality in this ‘documentary’ record.
The contributions to the art of film this work has to offer are
closely tied to the controversies. [It] is a masterpiece of style and
editing, which in turn are the very techniques used to manipulate
reality and create emotionally effective propaganda.” –Marie Saeli
–Sat, February 23 at 3:45.
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Paul Sharits
S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED
1968-70, 41 min, 16mm. Preserved by Anthology Film Archives with support
from the National Film Preservation Foundation.
“A conceptual lap dissolve from ‘water currents’ to ‘film strip
currents’/Dedicated to my son Christopher.” –P.S.
“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
–Sat, March 9 at 6:00.
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JACK SMITH
SCOTCH TAPE 1962, 3 min, 16mm
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
–Sun, March 10 at 5:15.
FLAMING CREATURES
Michael Snow
WAVELENGTH
1967, 45 min, 16mm
“[It] 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
–Thurs, March 14 at 7:15.
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Michael Snow
< — >
1969, 52 min, 16mm
“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.”
–Manny Farber, ARTFORUM
–Thurs, March 14 at 8:30.
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Warren Sonbert
CARRIAGE TRADE
1973 version, 61 min, 16mm
“My magnum opus. Travels over four continents
in six years.” –W.S.
“With CARRIAGE TRADE, Sonbert began to challenge
the theories espoused by the great Soviet
filmmakers of the 1920s; he particularly disliked
the ‘knee-jerk’ reaction produced by Eisensteinian
montage. In both lectures and writings about his
own style of editing, Sonbert described CARRIAGE
TRADE as ‘a jig-saw puzzle of postcards to
produce varied displaced effects.’ This approach,
according to Sonbert, ultimately affords the
viewer multi-faceted readings of the connections
between shots through the spectator’s assimilation
of ‘the changing relations of the movement of
objects, the gestures of figures, familiar worldwide
icons, rituals and reactions, rhythm, spacing, and
density of images.” –Jon Gartenberg
–Sun, March 24 at 5:15.
3

4
MAN WITH A MOVIE CAMERA /
THE FILMS OF DZIGA
VERTOV
“The film drama is the Opium of the people…down with Bourgeois
fairy-tale scenarios…long live life as it is!” – D.V.
KINO-EYE / KINOGLAZ
1925, 70 min, 16mm, b&w, silent
–Mon, March 25 at 7:30.
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FORWARD, SOVIET! / SHAGHAI, SOVIET!
1925-26, 73 min, 35mm, b&w, silent. With Russian intertitles; English
synopsis available.
–Mon, March 25 at 9:15.
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MAN WITH A MOVIE CAMERA /
CHELOVEK S KINO-APPARATOM
1929, 104 min, 35mm, b&w, silent
“Little introduction is needed for one of the great masterpieces
of world cinema, Vertov’s extraordinary meditation on
then-contemporary Soviet Russian society and the place of
filmmakers within it. A kind of ‘city symphony’, cataloguing the
sights and sounds of urban life, the film is structured across
a day, beginning with citizens waking up while machines are
revved up. As Vertov shows us, among the first heading off to
work is the ‘man with the movie camera’, played in the film by
his brother and cameraman Mikhail Kaufman. For Vertov, the
camera was a kind of infinitely more perfect eye: it could offer
details and aspects of the world that might be missed otherwise.”
–FILM SOCIETY OF LINCOLN CENTER
–Thurs, March 28 at 7:00.
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ENTHUSIASM, OR SYMPHONY OF THE DON
BASIN / ENTUZIASM: SIMFONIYA DONBASSA
1931, 67 min, 35mm, b&w. In Russian with no subtitles; English synopsis
available.
–Thurs, March 28 at 9:15.
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A SIXTH OF THE WORLD / SHESTAIA CHAST MIRA
1926, 74 min, 35mm, b&w, silent. With Russian intertitles; English synopsis
available.
–Sat, March 30 at 4:00.
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THE ELEVENTH YEAR / ODINNADTSAYI
1928, 60 min, 35mm, b&w, silent. With Russian intertitles; English synopsis
available.
–Sun, March 31 at 5:00.
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THREE SONGS ABOUT LENIN /
TRI PESNI O LENINYE
1934, 60 min, 35mm, b&w. In Russian with no subtitles; English synopsis
available.
–Sun, March 31 at 6:30.
ESSENTIAL CINEMA / PREMIERES
HORS SATAN
NEW YORK THEATRICAL PREMIERE RUN!
Bruno Dumont
HORS SATAN
2011, 109 min, 35mm. In French with English subtitles. With
David Dewaele & Alexandre Lematre. Distributed by New Yorker
Films.
The most recent work from Bruno Dumont, the
ever-provocative director of THE LIFE OF JESUS,
L’HUMANITÉ, and TWENTYNINE PALMS, HORS SATAN is
perhaps his most minimal, pared-down film, a portrait
of a mysterious, ominous figure – known only as Le
Gars (“The Guy”) – and the troubled teenage girl who
has formed an intimate bond with him. Played by the
striking David Dewaele, whose earthy appearance and
uncannily self-possessed presence counteract the
character’s highly enigmatic identity, this discomfiting
protagonist is revealed to possess strange powers.
As the film progresses, he performs a series of acts
that veer wildly between the miraculous and the
shocking, while Dumont stubbornly withholds the key
to his psychology, motivations, or origins. Unfolding at
a hypnotically deliberate pace, among the elemental,
stunningly photographed landscapes of the northern
French coast, HORS SATAN is a gorgeous yet disturbing
head-scratcher of a film.
“In this latest mix of mysticism and mayhem by the
always audacious Dumont a mysterious drifter…
acquires a disciple in the form of a teenaged village
girl. She follows him through the countryside as he
performs random acts of violence and healing. Is he
good or evil, Christ or Satan, miracle-worker or charlatan?
The astonishing climax might provide a clue, or
perhaps only deepen the mystery.” –SISKEL CENTER
“In the simplicity of the fable and the impressive
economy of the mise en scène, Dumont’s most direct
and most beautiful film.” –CAHIERS DU CINÉMA
–Fri, January 18 through Sun, January 27
at 6:45 & 9:15 nightly.
Additional screenings on Saturdays &
Sundays at 4:30.
NANA
NEW YORK THEATRICAL PREMIERE RUN!
Valerie Massadian
NANA
2011, 68 min, 35mm. In French with English subtitles. Special
thanks to Adam Sekuler (Northwest Film Forum).
This spare, haunting, deceptively slight film – marking
the feature debut of French filmmaker Valerie Massadian
– zeroes in on the behavior and existential state
of its 4-year-old protagonist. Growing up in rural
France, Nana lives in a seemingly idyllic environment,
but Massadian increasingly complicates our notion of
the child’s innocence. Opening with a matter-of-fact
depiction of the butchering of a pig (Nana lives on her
grandfather’s pig farm), the film gradually tightens its
focus to convey the child’s perspective as she entertains
herself in solitude. The subtlety and ingenuity
with which Massadian reveals aspects of Nana’s
environment through the details of her playing is
astounding, and only gradually do we come to realize
the full, disturbing extent of her situation. Founded on
the remarkable rapport between filmmaker and infant
actress – “There’s not one word, one gesture – nothing
– that I imposed on her. We played”, Massadian told
Interview Magazine – NANA is a delicate, unsettling,
and uniquely affecting film.
“The negotiation of a critical cinematic intelligence,
which is felt in every moment of NANA, with an
emotional underbelly deeply concerned with the care
and loving of an innocent amidst a state of nature, is
the most impressive aspect of a film that, once seen,
is hard to shake off.” –Robert Koehler, MOVING IMAGE
SOURCE
“Veering almost imperceptibly from a tender, bucolic
idyll to a wild and nasty fairy tale, the film becomes
still more enigmatic when little Nana is apparently
left to her own devices to frolic with a dead rabbit,
try out swear-words, tend the blazing hearth, and
read bedtime stories – to herself. Massadian’s patient
direction makes what at first seems a small film into
something deeply suggestive and even spellbinding.”
–Leo Goldsmith, FANDOR
–Fri, January 25 through Thurs,
January 31 at 7:00 & 8:45 nightly.
Additional screenings on Sat & Sun at
5:15.

ONCE EVERY DAY
U.S. THEATRICAL PREMIERE RUN!
FOREMAN IN PERSON OPENING NIGHT!
Richard Foreman
ONCE EVERY DAY
2012, 66 min, digital video
Theater director Richard Foreman is an avant-garde
legend whose exceptional stage productions, videos,
and writings have had a profound influence on arts
culture in New York City and around the world since
the late 1960s. ONCE EVERY DAY, his first feature film
in 35 years, is a bold and utterly mesmerizing work
that pushes his entirely unique theatrical vision into
unexplored digital territories.
Highly visual, complexly edited, and without a
conventional narrative ‘story’, ONCE EVERY DAY
nevertheless circles a secret theme as it zeros
in on a group of 25 people acting out a series of
semi-ritualistic behavior patterns. But their eccentric
impulses are aborted in unpredictable ways with
each new attempt at action or development. As the
film cuts between colored tableaus, bleached-out
action sequences, expressionistic black-and-white
confrontations, and slow immersion in pure light, we
repeatedly hear the voices of the invisible director
(Foreman) and his technicians, whispering offcamera
instructions and comments to the characters
– who are of course ‘actors’ as well as disturbed
and inhibited human beings. The implicit question
of the film becomes: could this be life itself – visibly
re-making itself as art?
The film was shot in Buffalo, NY as a series of nonconnected
scenes with multiple performers over only
6 days, with 1 camera controlled by Foreman and 3
or 4 others free to film whatever was transpiring in
each room where filming took place. A major step
away from his nearly annual stage productions at
the Ontological-Hysteric Theater, ONCE EVERY DAY
embraces the total possibilities of cinema to continually
subvert expectations and tap into liminal states
of consciousness.
“No one is better than Mr. Foreman at creating the
sense of a confounding universe out of joint and on
a slick road to nowhere.” –Ben Brantley, NEW YORK
TIMES
–Fri, February 8 through Thurs,
February 14 at 7:15 & 9:00 nightly.
Additional screenings on Sat & Sun
at 5:30.
PREMIERES
NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!
Dan Sallitt
THE UNSPEAKABLE ACT
2012, 91 min, digital video. With Tallie Medel, Sky Hirschkron, Aundrea Fares, Kati Schwartz, and Caroline Luft.
Dan Sallitt’s remarkable, boldly conceived fourth feature is a vivid character study of Jackie, a charismatic, fiercely
intelligent, soulful young woman struggling to navigate the choppy waters of adolescence, and nurturing an
intense emotional attachment to her older brother that crosses over unmistakably into incestuousness. Frankly
acknowledging her forbidden feelings in the company of both her unfazed but elusive brother and her loving but
ineffectual mother, Jackie is deeply confused and adrift, even while her sharp wit and keen intellect render her an
astute analyst of her own situation.
While its central conceit is admirably provocative, the film’s courting of controversy is belied by Sallitt’s resolutely
unspectacular approach – quietly observational, psychologically penetrating, and deeply sensitive, THE UNSPEAK-
ABLE ACT treats its attention-grabbing premise as a prism through which it explores the universally familiar
process of negotiating between attachment and emotional independence as one progresses towards adulthood.
A critic and blogger as well as a filmmaker, Sallitt has established a unique and confident voice, both in his writing
and in his long-gestating but always impressive feature films (all of which will be screening at Anthology on this
calendar). A great admirer of (and profoundly astute commentator on) the work of such masters of behavioral
cinema as Eric Rohmer, Maurice Pialat, and Mikio Naruse, Sallitt is perhaps contemporary American cinema’s
foremost keeper of their flame, and THE UNSPEAKABLE ACT a deeply moving example of his craft.
–Fri, March 1 through Thurs, March 7 at 7:00 & 9:15 nightly.
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Also don’t miss:
THE FILMS OF DAN SALLITT
On the occasion of our week-long run of his new work, THE UNSPEAKABLE ACT, Anthology presents a retrospective
highlighting Dan Sallitt’s three previous feature films. Woefully under-screened and overlooked, Sallitt’s body of
work – however modest, quiet, and unspectacular – is worthy of comparison with that of any other contemporary
American narrative filmmaker. These screenings are not to be missed!
See page 7 for full details.
HONEYMOON
1998, 90 min, 16mm. With Edith Meeks, Dylan McCormick, Peter Joseph, and Renee Bucciarelli.
–Thurs, February 28 at 7:00 and Fri, March 8 at 7:15.
ALL THE SHIPS AT SEA
2004, 64 min, digital video. With Strawn Bovee, Edith Meeks, Dylan McCormick, and Lois Raebeck.
–Thurs, February 28 at 9:15, Sat, March 2 at 5:15, and Fri, March 8 at 9:15.
POLLY PERVERSE STRIKES AGAIN!
1986, 98 min, video. With Dawn Wildsmith, S.A. Griffin, and Strawn Bovee.
–Sun, March 3 at 4:45.
THE UNSPEAKABLE ACT
5

ROCK/STRING
6
AFA PRESERVATIONS
SPECTACLES: STUART SHERMAN PRESERVED!
January 18-20
One of the premiere performance artists to emerge in the 1970s, Stuart Sherman (1945-2001) created intimate theater pieces that were as idiosyncratic as they were captivating. His
performances, often staged under the rubric SPECTACLES, were typically presented atop a TV dinner tray on which Sherman enacted apparently illogical, almost alchemical manipulations
of commonplace objects to create portraits of people, places, and thought processes. A crowd pleaser whose seemingly simple works actually hinged on very complex ideas
related to semiotics and language, Sherman’s witty performances were layered with stream-of-consciousness associations and film montage-like juxtapositions.
Between 1977 and 1993 Sherman produced approximately 30 short films, the longest of which is 12 minutes (most clock in under three minutes, with several lasting only a matter of
seconds). Critic J. Hoberman celebrated Sherman as an “ingenious editor” in ARTFORUM and noted “the movies resemble his one-man shows in their suggestive, rebuslike juxtaposition
of gestures and props. There’s the same deadpan whimsy, but a greater degree of imagistic freedom.” Discussing the physical limitations of theater with author Trudy Scott in THE
DRAMA REVIEW, Sherman explained that he turned to filmmaking to further extend his investigation of time, scale, and the object: “I realized there were a lot of tangible objects that I
couldn’t ever use…because they were too large to get into a performance space. I couldn’t get them into the room…like the ocean, the sky, the rooftop. I wanted to use those things.”
This very special survey series, presented in tandem with video distributor Electronic Arts Intermix (EAI), features newly preserved prints of Sherman’s ingenious films, all of his short
video productions, and a selection of performance documentations.
All 16mm films are newly preserved by Anthology Film Archives with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts, with the exception of SCOTTY AND
STUART, SKATING, CAMERA/CAGE, PIANO MUSIC, THEATER PIECE, TYPEWRITING (PERTAINING TO STEFAN BRECHT), BRECHT FILM, MR ASHLEY PROPOSES (PORTRAIT OF GEORGE), and BERLIN TOUR, which were
preserved by the Museum of Modern Art with support from the National Film Preservation Foundation. Documentations of the Spectacle performances were preserved by EAI in collaboration with the Fales Library &
Special Collections, NYU and the Barbara L. Goldsmith Preservation Lab, NYU Libraries.
Special thanks to Mark Bradford (Executor, Stuart Sherman Estate); Rebecca Cleman & Josh Kline (EAI); and Anne Morra & Mary Keene (MoMA).
PROGRAM 1: 16MM FILMS
GLOBES 1977, 2.5 min
SCOTTY AND STUART 1977, 2 min
SKATING 1978, 3 min
TREE FILM 1978, 1.5 min
EDWIN DENBY 1978, 1 min
CAMERA/CAGE 1978, 3 min
FLYING 1979, 50 sec
BASEBALL/TV 1979, 1 min
HAND/WATER 1979, 1.5 min
PIANO/MUSIC 1979, 1.5 min
ROLLER COASTER/READING 1979, 3 min
FOUNTAIN/CAR 1980, 39 sec
ROCK/STRING 1980, 55 sec
ELEVATOR/DANCE 1980, 3 min
THEATRE PIECE 1980, 52 sec
BRIDGE FILM 1981, 1.5 min
RACING 1981, 1 min
TYPEWRITING (PERTAINING TO STEFAN BRECHT)
1982, 2 min
FISH STORY 1983, 52 sec
PORTRAIT OF BENEDICTE PESLE 1984, 56 sec
MR. ASHLEY PROPOSES PORTRAIT OF GEORGE
1985, 1.5 min
BRECHT FILM 1985, 1 min
EATING 1986, 6 min
THE DISCOVERY OF THE PHONOGRAPH 1986, 6 min
SCOTTY SNYDER ALL AROUND THE TABLE
1987, 10 min
BERLIN TOUR 1988, 12 min
BLACK-EYED SUSAN PORTRAIT OF AN ACTRESS
1989, 9 min
LIBERATION PORTRAIT OF BERENICE REYNAUD
1993, 8 min
Total running time: ca. 90 min.
–Fri, January 18 at 7:30 and Sat,
January 19 at 6:30.
SON OF SCOTTY AND STUART
PROGRAM 2: VIDEOS
This program features all the videos that
Sherman produced from 1986 onwards.
To round out the show we’ll be presenting
special selections from the Stuart Sherman
collection at the Fales Library & Special
Collections, NYU.
BERLIN (WEST)/ANDERE RICHTUNGEN
1986, 6 min
GRAY MATTER 1987, 1 min
VIDEO WALK 1987, 1 min
DON’T HANG UP I’M FREEZING 1993, 4 min
A GLASS OF FISH 1993, 2 min
CHEERS! 1993, 2 min
BLACK AND WHITE & GRAIN 1993, 1 min
THE LEAP 1993, 3 min
SON OF SCOTTY AND STUART 1993, 5 min
BILL RICE’S BEER GARDEN 1994, 5 min
ME AND JOE 1994, 4 min
8 EGGS 1994, 5 min
NEWSBREAK 1994, 4 min
HOLY BIBLE 1994, 3.5 min
AH CHOO! 1994, 39 sec
Total running time: ca. 85 min.
–Sat, January 19 at 8:45.
PROGRAM 3: SOLO SPECTACLES
Sherman may best be known for his solo SPECTACLE performances, which
usually took the form of quick-paced interactions with everyday objects
over a tabletop. He created and performed eighteen SPECTACLES in total,
twelve of which he performed solo, and six with groups of collaborators. A
prominent theme of the SPECTACLES was Sherman’s playful use of scale,
either in the amplification of small gestures and details, or the miniaturization
of theatrical spectacle.
All works in this program will be projected on video.
TENTH SPECTACLE 1978, 30 min
Sherman draws from his supply of mass-produced objects and site-gags to
enact portraits of places ranging from Coconut Grove, Florida to Cairo, Egypt.
TWELFTH SPECTACLE (LANGUAGE) 1980, 32 min
Plays with the syntax of common objects, using familiar items such as telephones,
balloons, and magnets to stage rhetorical questions.
SELECTIONS FROM THE ELEVENTH SPECTACLE (THE EROTIC) AND
EIGHTH SPECTACLE (PEOPLE’S FACES) ca.1979, 20 min
Total running time: ca. 85 min.
–Sun, January 20 at 6:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 4: GROUP SPECTACLES
All works in this program will be projected on video.
SECOND SPECTACLE 1976, 45 min
Sherman performs with Stefan Brecht, Richard Foreman, and Kate Manheim
in a series of choreographed skits. In NAME, each of the performers takes
turns wearing a top hat and spelling out famous names; in PARTY, Manheim
sets a table with four plates and noisemakers, then methodically blows the
noisemakers and trims off their tips with scissors before ordering Brecht,
Foreman, and Sherman to collect the remnants.
SEVENTH SPECTACLE 1976, 31 min
In this group SPECTACLE, thirty performers take turns drawing from a pile of
props and creating absurd vignettes with their chosen objects.
Total running time: ca. 80 min.
THE ELEVENTH SPECTACLE
–Sun, January 20 at 8:15.

AFA PRESERVATIONS / RETROSPECTIVES
REPORT HONEYMOON
BRUCE CONNER
February 2-3
Bruce Conner (1933-2008) was an artist whose
astounding body of trailblazing work across numerous
mediums – film, drawing, sculpture, and photography to
name just a few – has long been celebrated in cinemas,
galleries, classrooms, and museums around the world.
A puckish iconoclast who adopted numerous styles and
identities over the decades, Conner never worried about
audience expectations or settled into one groove. He
never stopped being completely unpredictable. To celebrate
Anthology’s recently completed restorations of five
of Conner’s most seminal films, we present two programs
that feature brand-new and pristine prints of key works
alongside lesser-screened gems.
10 SECOND FILM, REPORT, COSMIC RAY, MEA CULPA, and AMERICA
IS WAITING have been preserved by Anthology Film Archives through
the National Film Preservation Foundation’s Avant-Garde Masters
Grant program funded by The Film Foundation. CROSSROADS was
restored by UCLA Film & Television Archive, and funded by the
Conner Family Trust and Michael Kohn Gallery.
Special thanks to Michelle Silva and The Conner Family Trust.
PROGRAM 1:
10 SECOND FILM 1965, 10 sec, 16mm
COSMIC RAY 1962, 5 min, 16mm
THE WHITE ROSE 1967, 7 min, 16mm
BREAKAWAY 1966, 5 min, 16mm
PAS DE TROIS 1964/2006, 8.5 min, 16mm-to-video. Edited by
Bruce Conner.
A rarely seen document photographed by Dean Stockwell
of Conner shooting BREAKAWAY with Toni Basil.
LOOKING FOR MUSHROOMS 1959-67, 3 min, 16mm
EASTER MORNING RAGA 1966, 10 min, 8mm
While Conner produced a digital version of this work in
2008, we will be screening an original 8mm film print.
TAKE THE 5:10 TO DREAMLAND 1978, 5 min, 16mm
VALSE TRISTE 1978, 5 min, 16mm
HIS EYE IS ON THE SPARROW 2006, 4.5 min, digital video
Total running time: ca. 60 min.
–Sat & Sun, February 2 & 3 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2:
10 SECOND FILM 1965, 10 sec, 16mm
MEA CULPA 1981, 5 min, 16mm
MONGOLOID 1978, 3.5 min, 16mm
AMERICA IS WAITING 1981, 3.5 min, 16mm
REPORT 1963-67, 13 min, 16mm
CROSSROADS 1976, 36 min, 35mm
Total running time: ca. 65 min.
–Sat & Sun, February 2 & 3 at 8:45.
THE FILMS OF DAN SALLITT
“[Sallitt’s] dialogue is absolutely wonderful, brilliant, discreet, moving. [He] has really found his own voice, which
is so rare.” –Arnaud Desplechin
On the occasion of our week-long run of his new work, THE UNSPEAKABLE ACT, Anthology presents a
retrospective highlighting Dan Sallitt’s three previous feature films. Woefully under-screened and overlooked,
Sallitt’s body of work – however modest, quiet, and unspectacular – is worthy of comparison with that of any
other contemporary American narrative filmmaker. These screenings are not to be missed!
HONEYMOON
1998, 90 min, 16mm. With Edith Meeks, Dylan McCormick, Peter Joseph, and
Renee Bucciarelli.
Mimi and Michael have been close friends since briefly dating
years before. The spark between them is re-kindled during a
weekend picnic outing, and Mimi, suddenly enthusiastic, proposes
to Michael abruptly. The two marry and head off on a honeymoon
to Pennsylvania without ever having slept with each other. But
the honeymoon goes terribly wrong: in no time the wedding night
becomes a nightmare of recriminations and sexual incompatibility,
and before long the marriage is hanging by a thread….
“This funny, harrowing, lucid movie is so mature about sex and
human relations that it puts to shame the bulk of what passes
for ‘adult’ entertainment in American cinema. In its deceptively
simple way, HONEYMOON pulls off something quite difficult –
namely, the illumination of the divide between expectations and
reality in the lives of ordinary people.” –Kent Jones
–Thurs, February 28 at 7:00 and Fri, March 8
at 7:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ALL THE SHIPS AT SEA
2004, 64 min, digital video. With Strawn Bovee, Edith Meeks, Dylan McCormick,
and Lois Raebeck.
Evelyn Bell, a Catholic professor of theology, and her younger
sister Virginia are reunited after many years when Virginia returns
home mired in a depression after being ejected from a religious
cult. At a lakeside retreat in Northeastern Pennsylvania, the
sisters try to reestablish their relationship, talking about their very
different systems of belief, and about the oppressive childhood
that still hangs over them….
“With religious films tending toward either propaganda or satire,
ALL THE SHIPS AT SEA arrives like a gust of crisp sea air. With its
searching discussion of faith lost and found, this highly impressive
second feature by Sallitt follows the tradition of Dreyer, Bergman
and Bresson, and is distinguished by two exceptional lead performances
and an unusually rigorous aesthetic.” –Scott Foundas,
VARIETY
–Thurs, February 28 at 9:15, Sat, March 2 at
5:15, and Fri, March 8 at 9:15.
POLLY PERVERSE STRIKES
AGAIN!
1986, 98 min, video. With Dawn Wildsmith, S.A.
Griffin, and Strawn Bovee.
Out of Nick Huxley’s past comes Theresa,
a lowlife who sleeps with anything that
moves and who has decided that she wants
Nick back. Nick, a successful photographer
with a stable relationship, is determined to
banish Theresa and youthful folly from his
life. But neither Nick’s girlfriend Arliss, who
believes in driving buried emotions out into
the open, nor Theresa, who seems to have
an unseen power on her side, is willing to let
it go at that…
Shot in Los Angeles on ¾” video and
never shown since its 1986 run at West
Hollywood’s EZTV, POLLY PERVERSE was
described by Sallitt as a cross between
BRINGING UP BABY and THE MOTHER AND
THE WHORE.
–Sun, March 3 at 4:45.
7

ASLEEP
EARLY SHORT FILMS:
ALONE 1963, 13 min, 16mm, b&w
ASLEEP 1961, 4 min, 16mm, b&w
CHINESE CHECKERS 1964, 13 min, 16mm, b&w
NAISSANT 1967, 14 min, 16mm, b&w
SOLILOQUY 1964, 8 min, 16mm
ME MYSELF AND I 1967, 18 min, 16mm, b&w
DIRTY 1967, 10 min, 16mm, b&w
Total running time: ca. 85 min.
–Fri, March 15 at 7:00 and
Wed, March 20 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
TRIXI
1969, 30 min, 16mm
“Dwoskin’s most convulsive version of his recurrent
theme: the confrontation of a solitary girl with the
camera. Shot in one continuous 8-hour session, TRIXI
records Beatrice Cordua’s responses to the situation,
from initial shyness, fear, and withdrawal through
teasing and posturing to naked surrender and final
exhaustion.” –Tony Rayns
&
TIMES FOR
1970, 80 min, 16mm
“An unfulfilled man renders himself to the unrealized
sensuality of four women. In his drifting search he fails
and fades in the same loneliness as the women. The
film is the reality and a metaphor for the intensities of
sexual experience.” –S.D.
–Fri, March 15 at 9:00 and
Tues, March 19 at 6:45.
8
RETROSPECTIVES
BEHINDERT
KISSING THE MOON: FILMS AND VIDEOS BY STEPHEN DWOSKIN
March 15-24
“Looking is a marvelous thing, and looking is what cinema is about.” –Stephen Dwoskin
This long-awaited retrospective by Brooklyn-born filmmaker, painter, and writer Stephen Dwoskin – who spent most of his adult life in London until his death this past June at the age
of 73 – pays homage to an artist who left behind an extensive legacy of unique and uncompromising works, many involving his long struggle with polio, which he contracted when he
was 9. Dwoskin’s intensely personal and daring works span more than five decades and include over fifty short works and features shot on both film and video.
Dwoskin attended art classes under Willem De Kooning and Josef Albers in NYC and soon became part of the New York underground scene that included Robert Frank, Allen Ginsberg,
and Andy Warhol, among others. Dwoskin moved from New York to London in 1964, where he became one of the founders of the London Film-makers’ Cooperative and a strong
supporter of the independent cinema movement in the U.K. In 1975, Dwoskin completed and published his book FILM IS…, described by J. Hoberman as an “impassioned, programmatically
cosmopolitan, personal history of avant-garde cinema.”
Anthology’s series spans Dwoskin’s long career, including his early short works and his seminal films of the 60s & 70s (such as TRIXI, DYN AMO, and CENTRAL BAZAAR), many of which
highlight his investigation of the gaze between filmmaker and performer and his fascination with the act of looking. In his later works, the subject matter becomes increasingly autobiographical,
while in the most recent videos, including his final work, AGE IS…, completed shortly before he passed away, Dwoskin confronts the deformity of his body, his dependency on
medical apparatuses, and his sexual encounters with women. Dwoskin’s cinema, generally labeled as ‘personal’ despite its strong subjectivity, transcends the specifics of his condition,
serving as a mirror that reflects every individual’s life – their limitations as well as their right to desire the impossible, to kiss the moon.
The retrospective has been curated by Andrea Monti, who also wrote the introduction above, and is co-presented by LUX Distribution and the Estate of Stephen Dwoskin.
Special thanks to Rachel Garfield (Estate of Stephen Dwoskin) and Mike Sperlinger & Gil Leung (LUX), as well as to Antoine Barraud & Vincent Wang (House on Fire Productions), Elle Burchill (Microscope
Gallery), Thierry Fourreau, William Fowler (BFI), Marie-Anne Guerin, and Anthea Kennedy.
Additional works by Stephen Dwoskin will be presented at Microscope Gallery in Brooklyn, in conjunction with this series. For more info, please visit: www.microscopegallery.com
DYN AMO
1972, 120 min, 16mm
“A ‘drama’ exploring the distinction between a person’s
self and his projection of that self to others; and…a ‘horror
movie’ tragically suggesting how a projection can become
more substantial than the self behind it. Its subjects are
role-playing (especially sexual role-playing), and the
masochism of playing a role that conforms to others’
exploitative interests.” –Tony Rayns
–Sat, March 16 at 4:30 and
Wed, March 20 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
BEHINDERT
1974, 96 min, 16mm-to-digital video
“This is Dwoskin’s masterpiece. Indeed, I have come to
regard it as the one of the greatest works in cinema history.
[…] Like many of Dwoskin’s pieces, it is a reflection upon
his physical condition – the title could be translated as
‘hindered’ or even ‘handicapped’, hence ‘disabled’ – and
the strains it poses on his exchanges with an able-bodied
lover. But this is as far from a ‘social problem’ or ‘disease
of the week’ telemovie as can possibly be imagined – as
the perfectly judged long takes, coupled with the relentless
drone-score by Gavin Bryars, attest. BEHINDERT remains
Dwoskin’s most daring and artistically successful attempt
to splice his ‘first person’ mode of cinema with a staged
fiction – creating a kind of cubistic complexity from the
constantly shuffled perspectives.” –Adrian Martin, FILM
QUARTERLY
–Sat, March 16 at 7:00, Tues, March 19 at
9:15, and Sat, March 23 at 9:15.
DYN AMO
AGE IS…
2011, 75 min, digital video
Dwoskin’s final film is a meditation on the subjective experience
and cultural concepts of aging. The film is an ode to the texture,
the beauty, the singularity of aging faces and silhouettes.
“Age is a question, a fear, something that may calm you too, but
first of all it’s a way of looking. Other people looking at you and
you looking at other people. It’s words that qualify you, official
letters that classify you. Age gets measured by an ellipse, in the
photos of a bygone era, the rediscovery of old films, the existence
of an archive. Those are the places that I wish to explore,
like the memory of a path. Unfortunately, age also means loss.
The loss of things, people, friends. You become very lonely. That’s
maybe one of the reasons why I want to ask my friends to shoot
some images.” –S.D.
–Sat, March 16 at 9:15, Thurs, March 21 at
7:00, and Sun, March 24 at 6:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
CENTRAL BAZAAR
1976, 156 min, 16mm. New print courtesy of the BFI!
“[CENTRAL BAZAAR] was reduced to [156 minutes] from fifteen
hours of footage Dwoskin shot with a group of volunteers
adventurous to act out their erotic fantasies. […] Theatre of life,
costumes, sexes, colors, lips, reality, and fantasy mix and reveal
themselves, intensified by Dwoskin’s obsessive camera eye, as
he picks out, watches, stops on faces, details, sustains, doesn’t
go away; the face is trapped, recorded. But there is no forcing,
no rape of the camera in Dwoskin. It’s gentleness itself, it’s an
intelligence that is gentle and unimposing.” –Jonas Mekas
–Sun, March 17 at 3:30 and
Sat, March 23 at 6:00.

RETROSPECTIVES / ONGOING SERIES
THE SUN AND THE MOON KO-KO
OUTSIDE IN / DAS INNERE BLOS
1981, 105 min, 16mm-to-digital video
“[OUTSIDE IN] is nominally about the filmmaker’s experience
of his disability, stricken with polio in early childhood. But is it a
personal reminiscence, a documentary, an essay film, a fictional
recreation, a lyrical abstraction, or a dance/performance piece?
It works through…a series of self-contained tableaux, each one
starkly set against those surrounding it, and each drawing upon a
very different style of cinematic representation. Poetic associations
flit from segment to segment, but it is left to the viewer to draw the
lines and make the connections.” –Adrian Martin, FILM QUARTERLY
–Sun, March 17 at 6:45, Thurs, March 21 at
8:45, and Sun, March 24 at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
TRYING TO KISS THE MOON
1994, 96 min, 16mm
“This autobiographical film evolves from the perspective of events
and images over a period of over 50 years. These events are
liberated and interwoven like an inner landscape framing one life,
directly and indirectly, all life-connected and film-connected by
personal associations and rediscovered fragments.” –S.D.
–Sun, March 17 at 9:00 and
Fri, March 22 at 7:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
OBLIVION
2005, 78 min, digital video
Depicts an elderly paralytic man’s literally unspeakable monologue
of pain and fury as he finds himself caught in the isolation of dependency
and sexual loss. His mind attempts to regain a certain equilibrium
of desire as the women whom he once loved surround his
shrinking and shrieking mind. They are both real and imaginary and
appear, disappear, and suddenly come back to torment his memory.
–Mon, March 18 at 7:00 and
Fri, March 22 at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE SUN AND THE MOON
2007, 60 min, digital video
In Dwoskin’s take on BEAUTY AND THE BEAST, an elderly woman
and a girl in an isolated country house are forced to confront the
‘other’, a deformed and fearsome man. Increasingly locked within
their personal solitude and terrorized by the menace that seems to
be looming over them, the two women must decide whether they
should take part in the annihilation of the man or if they should
carry out a final gesture of pity and compassion.
&
NIGHTSHOTS (1, 2, 3)
2007, 33 min, digital video, b&w, silent
The first three of a series of intriguingly personal and erotic
engagements seen in the privacy of darkness and transformed by
the iridescence of the night light.
–Mon, March 18 at 8:45 and
Sat, March 23 at 3:45.
SHOW & TELL
Each of our quarterly calendars contains hundreds of films and videos all grouped into a number of
series or categories. Along with preservation screenings, theatrical premieres, thematic series, and
retrospectives, we’re equally dedicated to presenting work by individuals operating at the vanguard
of non-commercial cinema. Each month we showcase at least one such program, focusing on
moving-image artists who are emerging, at their peak, or long-established but still prolific. These
programs are collected under the rubric SHOW & TELL, to emphasize the presence of the filmmakers
at each and every program.
This calendar brings visits by the accomplished animator George Griffin, whose work spans more
than 40 years; Vermont-based artist Leif Goldberg, who represents a later generation of experimental
animators; and Jeanne Liotta, who will present a three-program survey of her prolific career, with
work in Super-8mm, 16mm, 35mm, and digital video.
This series is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media
and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes
(www.NYSCA.org, www.eARTS.org).
JANUARY:
GEORGE GRIFFIN
For more than 40 years, George Griffin has explored the capabilities and potentialities of animation
as an art form, through his own film work, his abundant writings for journals such as Cartoons and
EnterText, and through his teaching at Harvard, Pratt, Parsons, and elsewhere. Starting out as an
apprentice in commercial animation studios, Griffin has remained active in that realm, contributing
to television programs including the Great Performances adaptation of Stravinsky’s L’HISTOIRE DU
SOLDAT and producing commissioned animation and public service spots at his studio, Metropolis
Graphics.
Griffin was drawn to animation, though, through his devotion to independent filmmakers such as
Robert Breer, Stan Vanderbeek, and John Hubley, and in the tradition of their work he has produced
over 30 personal films that are irreverent, playful, and vibrant, yet also self-reflexive, both personally
and cinematically. Using imagery familiar from commercial animation, Griffin invests it with a formal
sophistication and a depth of feeling rarely found in such films. This program will feature a selection
of works from throughout Griffin’s career – delightful, affecting, and astonishingly inventive, these are
all-too-rarely-seen gems!
HEAD 1975, 10.5 min, video
VIEWMASTER 1976, 3.5 min, video
FLYING FUR 1981, 7 min, video
KO-KO 1988, 3 min, video
NEW FANGLED 1990, 2 min, video
A LITTLE ROUTINE 1994, 7 min, video
IT PAINS ME TO SAY THIS 2006, 10 min, video
MACDOWELL: A USER’S MANUAL 2007, 14 min, video
THE BATHER 2008, 3 min, video
YOU’RE OUTA HERE 2009, 3 min, video
FLYING FUR FRAGMENTS 2012, 6.5 min, video
Total running time: ca. 80 min.
–Thurs, January 24 at 7:30.
9

IMAGINARY FRIEND
SHOW & TELL, CONT’D.
FEBRUARY:
LEIF GOLDBERG
Leif Goldberg’s mystifying films present viewers with an ecstatic obstacle
course of mutating images and delightfully warped sounds. Densely packed
yet ethereally exquisite, often frantic but always focused, Goldberg’s lustrous
films present new formal and visual possibilities for animation and collage techniques.
In addition to filmmaking, Goldberg is an independent visual artist whose
work ranges from drawings and objects to screen prints. He co-published the
seminal underground comics tabloid PAPER RODEO and produced the subsequent
anthology FREE RADICALS (Pictureboxinc 2005). His drawings and prints
have been published in numerous anthologies including KRAMER’S ERGOT and
LE DERNIER CRI, while his film work has been exhibited as part of collaborative
projects in the 2002 Whitney Biennial and the RISD Museum. A member
of the Forcefield collective who was associated with the now legendary Forth
Thunder scene in Providence, RI, Goldberg currently resides in Vermont where
he teaches 16mm film at a small college and directs a community TV station.
HORSE HOLOGRAPH 1997, 4 min, 16mm
A horse experiences his surrounding life through a sequence of daydreams
and quasi-reality. A multimedia animation made on film.
Q-2 IN THE HOUSE OF INFINITE COLORS 1999, 3 min, 16mm
A thousand strobing images set the stage for a future man transported back
to an archaic world of colorful junk.
FAKE MAKEBELIEVE 2000, 14 min, video
VHS to VHS Sesame Street rehash with psychedelic overtones. Childhood
fever dream.
THIRD ANNUAL ROGGABOGGA MOTION PICTURE 2002, 6 min, 16mm. Made
with Forcefield.
16mm stop-motion animated film that was projected for the three-month
duration of the Third Annual Roggabogga Installation at the Whitney.
BLOOD ORANGE 2012, 6 min, 16mm
Floating/streaming pumpkin heads caught on film.
IMAGINARY FRIEND 2005, 7.5 min, digital video
Toulouse and friends are in an internal crisis mode. Do they know that they
are just puppets living in some shut off reality?
LAWS FOR THE INTERMINABLE 2006, 3.5 min, 16mm
This is an initiation program for one Utrillo Valens, who has been cryogenically
preserved until a time deep into the disintegrated future. Now his crumpled,
deteriorated body is being awoken to a new world…and these are the things
he must know.
LIFE UNDER THE THREE SUNS 2007, 3 min, 16mm
“You know the three suns in the sky. They’ll come together soon…and it’s
called the great – great something or other. It’s a prophecy. And he told me I
must find the shard…and everything must be done before the three suns join
in one…and that’s all…and then he died.”
MOON PULLS 2012 (work in progress), ca. 8 min, 16mm
“As our ship approached touchdown on the floating ground, my eyes were
glued shut. The tides were there, pulling us…”
WEE WEE ATTRACTORS 2012 (work in progress), ca. 4 min, digital video/16mm
Travel inside the unraveling scribble universe.
Total running time: ca. 65 min.
–Thurs, February 21 at 7:30.
10
ONGOING SERIES
WHAT MAKES DAY AND NIGHT
MARCH:
JEANNE LIOTTA: THE REAL WORLD AT LAST BECOMES A MYTH
Whether focusing on stars in the sky, documenting her Lower East Side neighborhood, lyrically
investigating language, or examining the inherent properties of light and celluloid, Jeanne Liotta is
undoubtedly one of the most inquisitive moving image artists working today. Born and raised in NYC,
but currently teaching at the University of Colorado, Boulder, as well as on Faculty in the Bard MFA
program, Liotta makes films, videos, and other ephemera – including photographs, works on paper,
and live projection performances. Her latest body of work takes place in a constellation of mediums
investigating the cosmic landscape, at a curious intersection of art, science, and natural philosophy.
These three programs divide more than two decades of work into groupings that revolve around
science, the urban landscape (and its inhabitants), and cinematic poetry. Throughout these shows you
will encounter 35mm, 16mm, Super 8mm, and video, each of which are employed in highly distinctive
ways. Liotta is an intrepid explorer who uses all the tools in her reach both to investigate the nature of
the medium and to engage with the world (and the cosmos) around her.
PROGRAM 1:
SCIENCE MIX. the poetry of facts.
BLUE MOON 1988, 3 min, Super 8-to-16mm. Preserved
by BB Optics and NYU’s MIAP in 2012 with support from the
Orphans Film Symposium.
LORETTA 2003, 4 min, 16mm. Sound by Carlo Altomare.
ECLIPSE 2005, 3 min, 16mm
OBSERVANDO EL CIELO 2007, 19 min, 16mm
ONE DAY THIS MAY NO LONGER EXIST
2005, 8 min. Live double projection performance, for 16mm
loop and archival travelogue, with colored filters, set to sound
by Sun City Girls.
WHAT MAKES DAY AND NIGHT 1998, 10 min, 16mm
HYMN TO THE VOID 2006, 3 min, for 16mm film and
hymnboard
SCIENCE’S TEN MOST BEAUTIFUL EXPERIMENTS
2005, 2 min each, digital video
Inspired by a 2005 Physics World magazine poll.
#2: GALILEO’S
#10: FOUCAULT’S
SWEET DREAMS 2009, 4 min, video
Total running time: ca. 65 min.
–Fri, March 29 at 7:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2:
IRL MIX. stylistic contaminations from the urban field.
“o little jeannie” anon, unknown date, 3 min, 8mm
HEPHAESTUS OF THE AIRSHAFT
2005, 3 min, digital video
A YEAR OF YOUTUBE
A random mix of my point ‘n’ shoot urban field recordings;
here comes everybody.
CROSSWALK 2010, 18 min, 35mm
MANIFESTO! (STRUCK BY THE HAND)
2001, 11 min, digital video. With Andrew Castrucci.
OCCUPY DENVER 2011, 4 min, Super-8mm
SUTRO 2009, 3 min, digital video. Sounds by Scanner.
–Sat, March 30 at 6:00.
CROSSWALK
PROGRAM 3:
WORDY MIX. words are working hard for
you.
Following this program, Liotta will
take part in a conversation with poet
Anselm Berrigan!
@movies (iPhoto slide installation)
SWEET DREAMS 2009, 4 min, video
WHAT WE AS HUMANS TRYING
FALLIBLY FOREVER 2006, DV loop
HYMN TO THE VOID 2006, 3 min, for 16mm
film and hymnboard
HAIKU FOR ONIZUKA 2007, 1 min, 16mm
DARK ENOUGH 2011, 7 min, video. Text by
Lisa Gil.
SPONTANEOUS GEOMETRY (for Jen
Hofer) 2012, 1 min, video
SOME WORLDS 2012, 8 min, video. With
Matvei Yankelevich.
LEXICON OF SPATIAL CONCEPTS FOR
GIORDANO BRUNO
2012 (work-in-progress), 2 min
Plus:
Raul Ruiz LE FILM A VENIR
1997, 9 min, video
–Sat, March 30 at 8:00.

Andy Warhol’s TAYLOR MEAD’S ASS (1964) Film still courtesy/copyright The
Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All
rights reserved.
TAYLOR MEAD:
ON FILM, IN PERSON
The Underground’s greatest film comedian,
Taylor Mead has been an uproarious
onscreen presence since the late
1950s. A beloved Warhol superstar who
happens to be a neighborhood fixture,
Mead’s comedic quips and improvisatory
skills are unparalleled. Besides acting,
Mead is a published poet who for the last
few years presented a weekly spoken
word extravaganza called, naturally, The
Taylor Mead Show at the Bowery Poetry
Club. That showcase is sadly defunct
(for now), but we are absolutely thrilled
to have Taylor with us for one more
wild evening of recitations and reminiscences.
And to up the ante we will also
screen, quite possibly simultaneously, a
Warhol film soley devoted to…you know
what. You’ve never seen Taylor Mead like
this before!
THE TAYLOR MEAD SHOW
One never quite knows what will escape
Taylor’s smirking lips. If you have never
seen him perform live before, you seriously
don’t have any clue what you are
missing. Poems, gossip, jokes, and oh so
much more…
&
Andy Warhol
TAYLOR MEAD’S ASS
1964, 76 min, 16mm, b&w, silent
Andy gives Yoko Ono a run for her money
with this epic portrait of Taylor Mead’s
posterior. The original version supposedly
ran for over two hours!
–Fri, January 11 at 7:30.
SERIES
PERFUMED NIGHTMARE WHY IS YELLOW THE MIDDLE OF THE RAINBOW? (I AM FURIOUS…YELLOW)
SANDY REDUX
January 11-16
Thanks to Hurricane Sandy, Anthology was forced to shutter for the better part of a week this past October, canceling screenings of several programs, including scheduled in-person
appearances by Kidlat Tahimik, Mike Kuchar, and Taylor Mead (talk about a dream team!). Sadly, Kidlat and Mike are safely back in the Philippines and San Francisco respectively – but
we will be presenting their work in their absence, as well as hosting Taylor for a re-scheduled presentation of his program, and reprising a cancelled show from our Avant-Garde Masters
tribute. Assuming of course, that the gods aren’t angered again…
KIDLAT TAHIMIK
Kidlat Tahimik, one of the godfathers of Filipino filmmaking, made a triumphant entrance onto the world cinema stage in the late 70s/
early 80s with the appearance of his feature films PERFUMED NIGHTMARE and TURUMBA, which remain two of the most uncategorizable,
formally audacious, profoundly entertaining, deeply whimsical, yet politically incisive films in post-colonial cinema. Since then, Tahimik’s
work has had very little exposure in North America, even as he has been busier than ever, focusing his boundless energy on a series of
adventures, projects, and films ranging from the epic to the compact to the fragmentary. With a sensibility at once mischievously comic,
passionately committed, and irresistibly oddball, Tahimik is almost guaranteed to be your new favorite filmmaker!
Co-organized by Aily Nash & Juan Daniel Molero. Special thanks to Kidlat Tahimik, and to Les Blank (Flower Films), Kazuyuki Yano & Haruka Hama (Cinematrix), Takahashi
Echigoya (Aichi Arts Center), Blake Bertuccelli, Kathy Geritz (Pacific Film Archive), David Pendleton & Haden Guest (Harvard Film Archive), and Peggy Ahwesh.
PERFUMED NIGHTMARE
1977, 93 min, 16mm.
Born in 1942, during the American occupation of the
Philippines, Tahimik is best known for this remarkable,
uncategorizable, and entirely unique film, a semi-autobiographical
fable that tells the story of his awakening to, and
reaction against, American cultural colonialism.
–Sat, January 12 at 6:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
TURUMBA
1981, 95 min, 16mm.
Set in a tiny Philippine village, TURUMBA focuses on one
family who traditionally made papier-maché animals to
sell during the Turumba festivities. One year, a department
store buyer shows up in town and purchases all their
stock. When she returns with an order for 500 more (this
time with the word “Oktoberfest” painted on them), the
family’s seasonal occupation becomes year-round alienated
labor.
–Sat, January 12 at 8:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
WHO INVENTED THE YOYO? WHO
INVENTED THE MOON BUGGY?
1979, 95 min, 16mm-to-video
“[S]et in fictional Yodel Ville, with Kidlat Tahimik, no longer
the same jeepney driver of PERFUMED NIGHTMARE but a
character that is closer to the real man, spending time with
children in his mission to launch a chicken to space via a
makeshift vessel. … Without taking away from the unique
delights of seeing a grown man treating toddlers as equals
in discussions that should not make sense but actually do,
the film, while utilizing the often inane resourcefulness of
Tahimik’s character as a wellspring for comedy, proposes
that it is that trait, arguably endemic to Filipinos, that is the
secret ingredient to genius.” –Francis Joseph Oggs Cruz
–Sun, January 13 at 5:15.
WHY IS YELLOW THE MIDDLE OF THE
RAINBOW? (I AM FURIOUS…YELLOW)
1980-94, 175 min, 16mm-to-digital video
“The film, which is effectively Tahimik’s account of his personal
life from 1981 to 1993, is perhaps the most personal work of the
director whose films are intimately intertwined with him, his history,
and his beliefs.” –Francis Joseph Oggs Cruz
–Sun, January 13 at 7:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JAPANESE SUMMERS OF A FILIPINO
FUNDOSHI
1996, 41 min, 16mm
Tahimik spends a summer in Japan, working on several projects in a
traditional Filipino costume that resembles the Japanese Fundoshi.
&
MEMORIES OF OVERDEVELOPMENT
1980-2011, 33 min, video
“Perhaps one of the greatest films that will probably never get made
is Tahimik’s account of the first circumnavigation of the globe by
Enrique, Magellan’s Filipino slave. [This] thirty minute collection of
scenes…is, for the moment, the closest the world will ever get to
the non-existent film.” –Francis Joseph Oggs Cruz
–Mon, January 14 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
VIDEO PALARO: VIDEO DIARIES OF KIDLAT
TAHIMIK
SOME MORE RICE 2000, 20 min, video
BUBONG! (Roofs of the World! UNITE!) 2006, 20 min, video
OUR FILM-GRIMAGE TO GUIMARAS / DALAWANG ATANG AT ISANG
PASALUBONG 2005, 10 min, video
ORBIT 50: LETTERS TO MY 3 SONS 1990-92, 17 min, video
CELEBRATING THE YEAR 2021, TODAY 1995, 20 min, video
Total running time: ca. 95 min.
–Mon, January 14 at 9:00.
11

MIDNIGHT CARNIVAL
SANDY REDUX, CONT’D.
GO STARBOUND
WITH MIKE KUCHAR
An icon whose renown reverberates well outside
the small world of experimental cinema, Mike
Kuchar has been in constant pursuit of his muse
since his earliest days drawing and shooting 8mm
films in the Bronx. Bold hues illuminate artificial
atmospheres in his glamorously gleaming films
and videos, all of which were made for pennies
on the dollar. Ambience in a Mike Kuchar film is as
much of a character as his lovelorn protagonists.
Kuchar’s attention to color is similarly expressive,
especially in the way he uses light to invest his
already ethereal images with deeper emotional
and comical resonance.
This program brings together three new
works with Anthology’s recent preservation of
GREEN DESIRE, the filmmaker’s second 16mm
production following his revered SINS OF THE
FLESHAPOIDS. Two of the videos are stunning
pieces made with the students in his class at the
San Francisco Art Institute. They are without a
doubt among the strongest works of his lengthy
career and should by no means be missed by
Kuchar fans and thrill-seekers alike.
MELTDOWN
2012, 12 min, digital video
“Waiting to live” and “Waiting to die” are the
same thing…or is he just plain “Mad”?
STARBOUND
2012, 47 min, digital video
Dizzy “way out”, “new age” widescreen mayhem
seethes within the walls of the Institute for Metaphysical
Research and Spiritual Wellness.
GREEN DESIRE
1966, 20 min, 16mm. Preserved by Anthology Film
Archives through the Avant-Garde Masters program funded
by The Film Foundation and administered by the National
Film Preservation Foundation.
A youth wanders the landscape of grass and sky
in search of puzzling impulses. GREEN DESIRE is
an exquisite and rarely seen example of Kuchar’s
masterful use of color, texture, and tone.
MIDNIGHT CARNIVAL
2011, 34 min, video
A color-splashed mystery play about revelers at a
masquerade ball produced by Kuchar and his San
Francisco Art Institute students.
Total running time: ca. 120 min.
12
–Tues, January 15 at 7:30.
THE CLIMATE OF NEW YORK
SERIES
AVANT-GARDE
MASTERS:
A DECADE OF PRESERVATION
The Avant-Garde Masters grant was created in 2003
by the National Film Preservation Foundation and The
Film Foundation to preserve American Avant-Garde
cinema. Funded by The Film Foundation, the program
has helped save more than 100 films in its first
decade, making many works available to audiences
for the first time since their creation. Works preserved
thus far run the gamut from canonical classics to
handmade efforts by artists deserving a second look.
All films were preserved through the National Film Preservation
Foundation’s Avant-Garde Masters Grant program funded
by The Film Foundation. Special thanks to Jeff Lambert (NFPF),
Christa Grauer, Chicago Filmmakers, Patrick Friel, Mona Nagai
& Jon Shibata (Pacific Film Archive), and Silver Bow Art.
Frank Stauffacher
NOTES ON THE PORT OF ST. FRANCIS
1951, 21 min, 16mm. Preserved by Pacific Film Archive.
A poetic portrait of San Francisco narrated by Vincent
Price.
Rudy Burckhardt
THE CLIMATE OF NEW YORK
1948, 21 min, 16mm. Preserved by Anthology Film Archives.
Mid-1940s New York City preserved in luminous
black-and-white and saturated color.
“Shows the relation of New Yorkers to their monumental
environment, their nervous movement
against the solid calm of their architecture, and the
almost impossible difference in scale between the
two. From crowded midtown it takes you to a quiet
suburb, to Times Square at night, and down into the
subway.” –R.B.
Beryl Sokoloff
GAUDI
1962, 14 min, 16mm. Preserved by Silver Bow Art.
Sokoloff’s cinematic homage to the architect, Antonio
Gaudi. The filmmaker intertwines Gaudi’s fantastic
forms with the vital streets of Barcelona creating a
poetic tension and visual excitement.
Tom Palazzolo
HE
1966, 8 min, 16mm. Preserved by Chicago Filmmakers.
Men are strange creatures. This film follows a few
of them, including an Abe Lincoln look-alike, and a
nudist swimmer in January.
Total running time: ca. 70 min.
–Wed, January 16 at 7:30.
W.R.: MYSTERIES OF THE ORGANISM
A TRIBUTE TO
AMOS VOGEL AND ‘FILM
AS A SUBVERSIVE ART’
February 6-19, March 7-14
Published in 1973, FILM AS A SUBVERSIVE ART is an oft-referenced,
hugely influential, landmark text in the history of film literature. A book
with no discernible beginning, middle, or end, it’s as energizing, entertaining,
and important a work of film criticism as any that has ever
been written – a labyrinthine trek through world cinema via one man’s
visionary cosmology. That man was Cinema 16 and New York Film
Festival founder Amos Vogel (1922-2012), who dedicated his life to
supporting the pioneering efforts of independent artists and aesthetic
rebels. In its radical, impassioned polemics and dialectically-placed
film frames, FILM AS A SUBVERSIVE ART is the fulcrum of Vogel’s
years as a film programmer, festival juror, lecturer, and critic. Citing
numerous films that have become increasingly difficult to see due
to the vagaries of distribution, his book remains a Pandora’s box of
cinematic treasures and an astute elucidation of the artist’s role in
contemporary society.
To honor Amos and this singular work, Anthology is pleased to
present an extensive film series featuring more than two dozen
works discussed in FILM AS A SUBVERSIVE ART. Organized to reflect
the structure of the book, with films chosen to represent particular
chapters, this program brings together a hugely varied and eclectic
collection of works, the majority of them unscreened in NYC for many
years. Taken together, they demonstrate not only the riches that lie
within Vogel’s book, but the extraordinary potential of the cinema,
especially in the hands of truly visionary, vanguard artists.
Co-curated by Michael Chaiken; special thanks to Steven & Loring Vogel, Brian
Belovarac & Sarah Finklea (Janus), Cassie Blake (Academy Film Archive), Chris
Chouinard (Park Circus), Rebecca Cleman (Electronic Arts Intermix), Christophe
Deverdun (Blaq Out), Sam Di Iorio, Jane Gutteridge (National Film Board of Canada),
Henrikku, Go Hirasawa, Tanja Horstmann (Arsenal), Jonathan Howell (New Yorker),
Jyette Jensen, Gabe Klinger & Kitty Cleary (MoMA), Mark Johnson (Harvard Film
Archive), Joel Kozberg, Gérard Leblanc, Kate Millett, Stephen Parr, Boris Pollet,
Julian Ross, Elena Rossi-Snook (NYPL), MM Serra (Film-Makers’ Coop), Gaël
Teicher (P.O.M. Films), and Zelimir Zilnik & Sarita Matijevic (Playground produkcija).
Except where noted, all film descriptions are from Amos Vogel’s FILM
AS A SUBVERSIVE ART.
Anthology’s series has been organized in collaboration with the Museum of the
Moving Image in Queens, which will present its own Amos Vogel tribute in March;
for more details visit: www.movingimage.us/films/

ENTR’ACTE
INTRODUCTORY PROGRAM:
Dušan Makavejev
W.R.: MYSTERIES OF THE
ORGANISM
1971, 84 min, 35mm. In English, German, Russian, and
Serbian with English subtitles.
[U]nquestionably one of the most important subversive
masterpieces of the 1970s: a hilarious, highly
erotic, political comedy which quite seriously
proposes sex as the ideological imperative for
revolution and advances a plea for Erotic Socialism.
[…] Beneath the film’s light-hearted frivolity and
marvelous humor lurks a more serious ideological
intent: opposition to all oppressive social systems,
East or West, the removal of prurience from sex and
a final squaring of accounts by the new radicals with
the now reactionary Russian regime. […] Makavejev
is quite accurate in describing his film as ‘a black
comedy, a political circus, a fantasy on the fascism
and communism of human bodies, the political life of
human genitals, a proclamation of the pornographic
essence of any system of authority and power over
others.’
With:
René Clair and Francis Picabia ENTR’ACTE
1924, 22 min, 35mm, b&w
“A masterpiece of Dada and a feat of cinema
magic. Made as intermission entertainment for the
Ballet Suédois from an impromptu scene by Francis
Picabia.” –AFA
–Wed, February 6 at 7:30,
Sat, February 9 at 9:15, and
Sun, February 10 at 4:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
WORLD VIEW
Ivo Kohler & Theodor Wrismann LIVING IN A
REVERSED WORLD 1955, 11 min, 16mm
Fascinating – and unintentionally funny – experiments
at Austria’s famed Institute for Experimental
Psychology involve a subject who for several weeks
wears special glasses that reverse right and left
and up and down. Unexpectedly, these macabre
and somehow surrealist experiments reveal that
our perception of these aspects of vision is not of
an optical nature and cannot be relied on, while
the unfortunate, Kafkaesque subject stubbornly
struggles through a morass of continuous failures.
&
Herbert Vesely
NO MORE FLEEING /
NICHT MEHR FLIEHEN
1955, 68 min, 16mm. In German with English subtitles.
One of the more important European avant-garde
films of the post-war period, this feature-length work
SERIES
offered a devastating comment on the mid-century European
mood. A macabre landscape of impotence and absurdity, peopled
by ambiguous travellers, finally explodes into senseless violence.
A hypnotic paraphrase of mankind’s atomic cul-de-sac (clearly
influenced by existentialism), the film has no conventional plot,
dealing instead with day-dreams, associations and déjà vus. Set
in a stone-covered, sun-parched desert, with remnants of civilization
strewn about, the travellers pass through stations of an
illusory voyage that increase the feeling of the absurd. A murder
occurs without cause and creates neither guilt nor prosecution.
The world has moved beyond good and evil; since life is absurd,
crime is inconsequential. The film analyses states of a meaningless
existence from which no escape is possible.
–Thurs, February 7 at 7:00 and Sun, February
10 at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
LEFT AND REVOLUTIONARY CINEMA:
THE THIRD WORLD
Ousmane Sembene
EMITAÏ
1971, 103 min, 35mm. In Wolof and French with English subtitles.
An anti-imperialist yet curiously muted evocation of the French
colonial period and of the strong yet waning influence of tribal
religions. As usual with Sembene, there is much fascinating
ethnological detail; more importantly, this is a film by an African
for Africans, designed to make them share discovery and
revelation, the limitations of myth, the cruelty of the oppressor,
the fortitude of the people, and the need for revolution.
–Thurs, February 7 at 9:00 and Mon, February
18 at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ASSAULT ON MONTAGE
Bernardo Bertolucci
BEFORE THE REVOLUTION /
PRIMA DELLA RIVOLUZIONE
1964, 115 min, 35mm. In Italian with English subtitles.
Rarely has a talent burst upon the film scene with such brilliance
as Bertolucci did with this film, perhaps the most germinal
work of the new cinema. A flood of poetic visuals, montage,
and sound, it is a shamelessly passionate, intensely personal
statement of political and sexual coming of age. […] The motto
that prefaces this film also points to Bertolucci’s dilemma: ‘Only
those who lived before the revolution, knew how sweet life
could be’ (Talleyrand). Thus Bertolucci is at his best describing,
with anguished ambivalence, bitter-sweet episodes of middleclass
life….
What is most original in it, however, is his outrageous and
exuberant pictorial sense, his (aesthetically) revolutionary
attempt to create a poetic-political cinema by means of
audacious, violent editing and visual effects, far in advance of
anything the commercial cinema has to offer and surpassing
many of the most potent achievements of the international
avant-garde.
–Fri, February 8 at 6:45.
EMITAÏ
LEFT AND REVOLUTIONARY CINEMA:
THE WEST – PROGRAM 1
Kate Millett
THREE LIVES
1971, 70 min, 16mm
Photographed by an all-female crew and directed by the
author of SEXUAL POLITICS, these are autobiographical
interviews with three very different women who talk frankly
about their lives, conflicts, and contrasting life styles. A
proud and uncompromising film.
–Fri, February 8 at 9:15 and Tues,
February 19 at 7:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
AESTHETIC REBELS AND REBELLIOUS
CLOWNS
Marcel L’Herbier
THE LATE MATTHEW PASCAL /
FEU MATHIAS PASCAL
1924, 170 min, 16mm
Bizarre adaptation of Pirandello’s story of a man who –
searching for absolute freedom – is unexpectedly given the
opportunity to exercise it. Alberto Cavalcanti’s expressionist
distortions of décor and architecture underscore the metaphysical
rhythms of this strange, disordered tale. Filled with
black humor and semi-surrealist melodrama, this unpredictable
adventure in ambiguous freedom, conceived by an
arch-skeptic, erupts in a paradoxical denouement.
–Sat, February 9 at 3:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
DESTRUCTION OF PLOT AND NARRATIVE
Richard Myers
AKRAN
1970, 110 min, 16mm. Preserved by the Academy Film Archive.
Myers is unquestionably a major talent of the American
avant-garde and AKRAN one of his most important films.
A feature-length deluge of incessant, brilliant bursts of
images (short takes and jump cuts, single frames in series,
freeze-frames slightly altered between takes) it creates
a Joyce-like, dense and somber mosaic of memory and
sensory impressions, a texture instead of a plot, a dreamlike
flow of visually-induced associations often flashing by
faster than they can be absorbed. Described by the director
as an ‘anxious allegory and chilling album of nostalgia’, its
penetrating monomania is unexpectedly – subversively –
realized to be a statement about America today: the alienation
and atomization of technological consumer society is
reflected in the very style of the film.
–Sat, February 9 at 6:45 and Mon,
February 18 at 9:15.
13

LEFT AND REVOLUTIONARY CINEMA:
THE WEST – PROGRAM 2
Fred Mogubgub THE GREAT SOCIETY
1967, 2 min, 16mm
To the strains of ‘The Battle Hymn of the Republic’,
and at the approximate rate of one image per second,
the fi lmmaker, without further comment, presents
head-on shots of an endless barrage of American
consumer goods, packed, frozen, canned or bottled.
Newsreel YIPPIE! 1968, 10 min, 16mm
True to their joyfully anarchist philosophy of radical
politics as ‘theatre’, this is the Youth International
Party’s jaundiced view of the 1968 Democratic
convention and its concomitant violent demonstrations...
A complex, sophisticated example of political
fi lmmaking at its best.
Pace HOG CALLING BLUES 1969, ca. 10 min, 16mm
[T]his is a cry of anguish by the young fi lmmaker
at Vietnam and the Kent State University killings of
anti-war students by the military. Two young men fi rst
decorate a dead pig, placed on an American fl ag, and
then (with disjointed expressions of anger, impotence,
anguish) remove its eyes, cut off its ears, furiously
smash into it with an axe. Finally, shoving the fl ag into
the carcass from behind, they cut off its head: ‘The
Pig Is Dead.’
Robert Machover & Norman Fruchter
TROUBLEMAKERS
1966, 54 min, 16mm
One of the best works of the American Left, this is a
hard-hitting example of a new kind of political fi lm
which avoids both clichés and propaganda. It concentrates
instead on a careful exploration of the problems
encountered by young SDS militants (including
Tom Hayden, then unknown, later a leader of the
movement) in organizing the Black Ghetto in Newark
around community issues and simultaneously radicalizing
them. The painful, diffi cult experiment ends
in failure, honestly confronted by an honest fi lm,
leaving the viewer with the implicit suggestion that
the attempt must be made again; this time perhaps in
the direction of revolution rather than reform.
14
–Sun, February 10 at 6:30 and
Tues, February 19 at 9:00.
SERIES
EARLY WORKS A HARD DAY’S NIGHT
A TRIBUTE TO AMOS VOGEL CONT’D
LEFT AND REVOLUTIONARY CINEMA:
THE EAST
Zelimir Zilnik
EARLY WORKS / RANI RADOVI
1969, 87 min, 35mm-to-digital video. In Serbian with English
subtitles.
Filmed during the political ferment of 1968, this work
explores the radical impulses behind the unrest of
the young in a country where the revolutionaries of
an earlier generation now form the Establishment.
Three young men and a beautiful girl leave home and
move across the country in search of a just society
and true socialism, only to discover tragically that
an unfi nished revolution, while changing the face of
power, has failed to change the nature of man. Filled
with black humor, frank sex, and bizarre tableaux, the
fi lm becomes a revolutionary allegory of the European
New Left. Though it brought its director into confl ict
with his country’s authorities, the Yugoslav courts
subsequently ruled in his favor in a landmark decision.
–Thurs, March 7 at 6:45, Sun, March
10 at 3:00, and Wed, March 13 at
9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
AMOS VOGEL ON FILM, PROGRAM 1:
Paul Cronin
FILM AS A SUBVERSIVE ART: AMOS
VOGEL AND THE CINEMA 16
2003, 56 min, video
“An historic documentary about Amos Vogel and the
creation of Cinema 16, the fi rst large-scale fi lm society
in the United States. Director Paul Cronin records the
free-form reminiscences of Cinema 16’s organizers,
together with commentary by Vogel scholar Scott
MacDonald. Interspersed with clips from movies
which were once projected at Cinema 16, Cronin’s
fi lm provides a fi rst-hand visual representation of
the cutting edge fi lms that Amos Vogel so effectively
championed.” –Jon Gartenberg
&
Andre St. Laurent
CAMERA THREE: NEW YORK FILM FESTIVAL 1963
1963, 28 min, video, b&w
In 1963, Amos Vogel and Richard Roud founded the
New York Film Festival at Lincoln Center. In its fi rst fi ve
editions (1963-68) Vogel served as Festival Director
introducing American audiences to the work of
Bernardo Bertolucci, Chris Marker, Werner Herzog, Eric
Rohmer, R.W. Fassbinder, and Martin Scorsese. In this
episode of CAMERA THREE hosted by James MacAndrew,
Vogel is joined by Richard Roud and directors
Adolfas Mekas and Joseph Losey in discussing the
inaugural season of the New York Film Festival.
–Thurs, March 7 at 9:00.
THE ATTACK ON GOD
Howard Smith & Sarah Kernochan
MARJOE
1972, 88 min, 35mm. Archival print courtesy of the Academy Film Archive.
This deceptively humorous cinéma vérité study of a traveling
evangelist emerges as a ruthless exposé of an aspect of America’s
national psyche, with implications far beyond its immediate subject
matter. […] The revelation of mass manipulation by a charismatic,
smiling con-man, the fervor and conservatism of the duped, the
intrusion of questions of money and power over others – these
American preoccupations are brilliantly refl ected in this outrageous,
disturbing black comedy.
–Fri, March 8 at 7:00 and Tues, March 12 at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
TOWARDS A NEW CONSCIOUSNESS
Richard Lester
A HARD DAY’S NIGHT
1964, 87 min, 35mm
The playful anarchism and exuberant vitality of this work – a
thumbing of noses at the ‘straight’ adult world – caught the
essence of the Beatle mystique and even reinforced their electrifying
presence with machine-gun editing, jump cuts, accelerated
speed, quick movements in close-up, and a camera that never
stood still. […] The Beatles’ ideological refusal to take the world
or themselves seriously, their almost surreal approach to their environment
proved a perfect foil for Lester.
&
Jud Yalkut KUSAMA’S SELF-OBLITERATION 1968, 24 min, 16mm
A strangely compelling study of Yayoi Kusama, painter, sculptor and
environmentalist, who paints polka dots on fl owers, bodies, water,
and grass in a thought-provoking attempt at pantheism and ego transcendence,
culminating in relaxed nude body painting and group sex.
–Fri, March 8 at 9:00 and Tues, March 12 at 6:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
HOMOSEXUALITY AND OTHER VARIANTS –
PROGRAM 1: OTTO MUEHL
The Austrian avant-gardist Otto Muehl may well be the most scandalous
fi lmmaker working in cinema today. […] Muehl’s fi lms…
are based on his notorious ‘Materialaktionen’; love happenings,
involving nude protagonists in real and extravagant acts of sexual
violence and defi lement. Clearly derived from dada-surrealist antiaestheticism,
these public performances predictably caused police
prosecution, scandals, and near-riots in various countries. They
invade the spectator’s defence mechanism and value systems in
a manner comparable perhaps only to the slitting of the woman’s
eyeball in Buñuel’s UN CHIEN ANDALOU or Franju’s deceptive documentary
of the slaughter-houses, THE BLOOD OF THE BEASTS.
Kurt Kren 6/64: MAMA & PAPA 1964, 4 min, 16mm
&
Otto Muehl MATERIALAKTIONSFILME 1970, 47 min, 16mm
–Sat, March 9 at 3:45.

JANUARY 2013
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 21 32 43 54 65
6:00, 7:15, 8:30 6:00, 7:00, 8:30 6:00, 7:15, 8:15 6:00, 7:30, 8:30
76 87 98 10 9 11 10 12 11 13 12
7:30
4:00
6:00, 7:00, 8:00, 9:15 6:00, 7:00, 8:00 6:00, 7:00, 8:00, 9:15 6:00, 7:00, 8:00, 9:30 8:00
6:00
7:30
8:00
14 13 15 14 16 15 17 16 18 17 19 18 20 19
6:45 & 9:15 4:00
4:30, 6:45 & 9:15
7:30
6:30
5:15 7:00 7:30
6:00, 7:00, 8:15, 9:00
7:30
7:30
9:00
8:45
21 20 22 21 23 22 24 23 25 24 26 25 27 26
4:30, 6:45 & 9:15
6:45 & 9:15
6:00, 7:15, 8:45 6:45 & 9:15
6:45 & 9:15
4:00
6:45 & 9:15
5:15, 7:00 & 8:45
7:30 7:00 & 8:45
6:45 & 9:15
4:30, 6:45 & 9:15
6:00
8:15
28 27 28 30 29 31 30 31
7:00
6:00, 7:00, 8:15 7:00 & 8:45
4:30, 6:45 & 9:15 7:00 & 8:45
7:30
7:00 & 8:45
7:00 & 8:45
5:15, 7:00 & 8:45

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 2
4:45
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3 4 5 6 7 8 9
4:00
3:15
7:00 6:45
6:00, 7:15, 8:30
6:00
5:30, 7:15 & 9:00
7:30 7:15 & 9:00
7:00
7:30
6:45
8:00
9:00 9:15
9:15
8:45
10 11 12 13 14 15 16
4:00
6:00
7:15
& 9:00 7:15 & 9:00 6:00, 7:30, 8:45 6:45 7:00
6:45
5:30, 7:15 & 9:00
7:15 & 9:00 7:15 & 9:00 9:00
8:00
6:30
9:15
9:15
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17 18 19 20 21 22 23
6:00
7:00 7:15
6:00, 7:15, 8:30 7:00 7:00
7:009:15
9:00
6:45
9:00
7:30
8:00
9:00
9:15
9:00
24 25 26 27 28 MARCH 1 2
4:30
7:30 7:00 6:00, 7:30, 9:00 7:00
7:00 & 9:15
4:45
7:30
9:15
6:45
7:00
8:30
CINEKINK, Feb 27-Mar 2, p 30
9:00
5:15
3:45
5:00
6:00
7:00
8:30
9:00
7:00 & 9:15
FEBRUARY 2013

MARCH 2013
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
3 4 5 6 7 8 9
7:00 3:45
4:45 7:00 & 9:15 7:00 & 9:15 6:00,
7:30, 9:00 6:45 5:30
7:00 & 9:15 7:15
6:00
7:00 & 9:15
7:30 7:00 & 9:15
9:00 7:00
9:00
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10 11 12 13 14 15 16
3:00
5:00 7:00 6:45 6:00, 7:00, 8:30 7:00 7:00 4:30
7:00
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7:15 7:30
9:15
6:30
9:00
6:45
8:30 9:00
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17 18 19 20 21 22 23
3:45
3:30 7:00
6:45
6:00, 7:45, 9:15 7:00 7:00
5:00
8:45 9:15
7:30
6:45
6:45
7:15 6:00
8:45
9:00
9:15
7:15
9:00
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24 25 26 27 28 29 30
5:00
4:00
7:00 7:00 6:00, 7:15, 8:30 7:00
7:00
5:15
5:15
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9:00 9:00 7:15
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31
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18
EMPEROR TOMATO KETCHUP
A TRIBUTE TO AMOS VOGEL, CONT’D
DEATH
Donald Brittain & John Spotton
MEMORANDUM
1966, 58 min, 16mm. In English and German with English subtitles.
With NIGHT AND FOG, this is unquestionably the most sophisticated fi lm yet
made on the philosophical and moral problems posed by the concentration camp
universe. Twenty years after the liberation, a group of Canadian survivors return on
a pilgrimage to the former Bergen-Belsen concentration camp. A complex fi lmic
structure, combining cinéma vérité and a constant mingling of past and present,
records the result: a morass of paradox, irony, unanswerable questions; and a strong
implication that it may be impossible to go back or to ‘understand’. […] [T]he question
hovering over the entire fi lm – unspoken, yet implicit in every scene – is simply
how, or whether, one can learn from the past.
–Sat, March 9 at 5:30 and Mon, March 11 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
TRANCE AND WITCHCRAFT
EXCEEDINGLY RARE SCREENING!
Jean-Daniel Pollet
LE SANG
1970, 85 min, 35mm. In French with projected English subtitles.
An apocalyptic vision of man after a cosmic catastrophe, this fi lm is a terrifying metaphor
of a dehumanized future. The Brazilian Cinema Novo, German expressionism of
the twenties, and the ideologically motivated ‘cruelty’ of a Buñuel come together in
this ferocious work of a French theatre collective – an ambitious, almost completely
successful example of visual cinema at its best.
–Sat, March 9 at 7:00 and Wed, March 13 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
HOMOSEXUALITY AND OTHER VARIANTS: PROGRAM 2
Shûji Terayama
EMPEROR TOMATO KETCHUP / TOMATO KECCHAPPU KÔTEI
1970, 27 min, 16mm. In Japanese with English subtitles.
The use of children in (however simulated) sex acts with adults is always shocking; in
this ‘scandalous’ avant-garde fi lm, magical women act as their initiatory, yet protectively
maternal partners. The children, in revolt, have condemned their parents to
death for depriving them of self-expression and sexual freedom; they create a society
in which fairies and sex education are equally important and…literally combinable.
&
Kôji Wakamatsu
VIOLATED ANGELS / OKASARETA HAKUI
1967, 56 min, 35mm. In Japanese with projected English subtitles.
This fi lm is more symptomatic than signifi cant. Its director claims that his twenty
sadomasochist and erotic features project an anti-authoritarian message. The
‘angels’ in this fi lm are young nurses, methodically violated, shot, and/or cut into
ribbons to the accompaniment of moans, and croaking noises, by a young man with
a gun and a razor. In a lake of blood and beautiful young nude bodies, he is unable to
kill the last one, curling up, foetus-like, in her lap instead. ‘Why did you spill so much
blood?’ asks the girl-mother. ‘To ornament you’, he replies. While there is no doubt of
Wakamatsu’s ability as an artist, his anti-feminist sadism, unadorned by ideological
context, ultimately gives his work an anti-humanist fl avor.
–Sat, March 9 at 9:15, Mon, March 11 at 7:00, and
Thurs, March 14 at 8:45.
SERIES
VIOLATED ANGELS
EROTIC AND PORNOGRAPHIC CINEMA
Arthur Ginsberg
THE CONTINUING STORY OF CAREL AND FERD
1972, 59 min, video
This ‘underground video soap opera’ – presented in an astonishing eighttelevision-screen,
closed-circuit, live-performance format – begins where
commercial TV lets off. A ‘video-vérité’ study of a sometime homosexual junky
and his girl (both former porno fi lmmakers), it is accurately billed as a ‘videotape
novel about pornography, sexual identities, and the effect of living too
close to an electronic medium.’”
&
Karen Johnson ORANGE 1969, 3 min, 16mm
“[T]his close-up of the peeling, sectioning, licking, and eating of a naval orange
becomes a sensuous, sexual experience that disturbs and attracts by the
ambivalence of its images; erotic associations constantly impinge.”
–Sun, March 10 at 5:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
HOMOSEXUALITY AND OTHER VARIANTS: PROGRAM 3
Hellmuth Costard
THE OPPRESSION OF WOMEN IS ESPECIALLY SEEN IN
THE ATTITUDE OF WOMEN THEMSELVES /
DIE UNTERDRÜCKUNG DER FRAU IST VOR ALLEM AN DEM VERHALTEN DER
FRAUEN SELBER ZU ERKENNEN
1969, 64 min, 16mm. In German with English subtitles.
One of the ideologically most aggressive fi lmmakers of the German avantgarde…has
us spy on the humdrum activities of a housewife during a typical
day of her life, much of it recorded in real time to reveal its boredom and stultifying
idiocy. She washes dishes, talks on the telephone, masturbates in front of
a mirror, cooks. With characteristic perversity, however, she is played by a male
in male dress: a brilliant and disturbing visual metaphor. Here the Warhol style
of ‘real time’ and minimal cinema is utilized for a radical political statement.
–Sun, March 10 at 6:45 and Thurs, March 14 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
AMOS VOGEL ON FILM, PROGRAM 2:
REEL PHILADELPHIA: EPISODE 5
1980, 90 min, video. Hosted by Amos Vogel.
From 1973 until his retirement in 1991, Vogel taught and lectured on fi lm at
the Annenberg School of Communications at the University of Pennsylvania.
In 1980 he hosted a television program broadcast on Philadelphia PBS
affi liate WHYY where he presented and discussed the best independent and
experimental fi lms being made in the Delaware Valley. The series ran for
fi ve episodes; episode 5, the fi nal installment, features work by Peter Rose,
Laurence Salzmann, and Maggi Carson whose fi lm PUNKING OUT inspires a
particularly brilliant introduction from Vogel.
PUNKING OUT will screen in its entirety from 16mm. It has been preserved by
the Reserve Film and Video Collection of The New York Public Library for the
Performing Arts, with funding from the Carnegie Corporation of New York.
–Sun, March 10 at 8:30.

SERIES
PREHISTORY OF THE PARTISANS GOOD-BYE
SANRIZUKA: HETA VILLAGE
RITUALS IN THE AVANT-GARDE:
FILM EXPERIMENTS IN 1960-70s JAPAN
February 20-26
This series brings together a wide scope of artistic activity that emerged from the outer limits of film expression in the most politically fervent period of Japan’s recent history. The
program navigates rarely screened works from the 1960s and early 1970s that span genres including documentary, dance film, animation, softcore pink, and queer cinema. What ties
these seemingly disparate films together are their commitment to radical expression, which came to redefine what constituted avant-garde output. The program has been designed
to coincide and resonate with the Museum of Modern Art’s ‘Tokyo 1955-1970’ exhibition and ‘Art Theater Guild and Japanese Underground Cinema 1962-1984’ film series.
Curated by Go Hirasawa and Julian Ross, and co-organized by the Japan Foundation.
Very special thanks to Katsu Kanai, Yoshihiro Kato, Henrikku Morisaki, Nobuhiko Obayashi, Michio Okabe, Akira Uno and Studio Aquirax, Tadanori Yokoo, Adachi Masao Screening Committee, The Film School of Tokyo,
Film-Makers’ Coop, Fukuoka City Public Library, Keio University Art Centre, Kokuei, Nippon Connection, Ohno Kazuo Dance Studio, Siglo, Stans Company, Joshua Siegel (MoMA), Roland Domenig (University of Vienna),
Haden Guest (Harvard Film Archive), Akihiro Suzuki (S.I.G.), Ryoko Obayashi and Takehito Moriizumi (PSG).
Go Hirasawa and Julian Ross will be present during the opening weekend.
PROGRAM 1:
Atsushi Yamatoya
DUTCH WIFE IN THE DESERT / KÔYA NO DACCHI WAIFU
1967, 85 min, 16mm, b&w
Presented by Go Hirasawa and Julian Ross, co-curators of the program.
The second directorial effort by the screenwriter for BRANDED TO KILL (Seijun
Suzuki, 1967) and CHRONICLE OF AN AFFAIR (Koji Wakamatsu, 1965), Atsushi
Yamatoya’s surreal pink film navigates a multi-layered and surreal plot with
exquisite visual finesse. For a time an assistant director at Nikkatsu studios,
Yamatoya took part in Seijun Suzuki’s screenwriting group Guryu Hachiro and
wrote under the pen-name Yoshiaki Otani (with Chusei Sone) for Wakamatsu
Productions.
–Wed, February 20 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2:
Noriaki Tsuchimoto
PREHISTORY OF THE PARTISANS / PARUCHIZAN ZENSHI
1969, 120 min, 16mm, b&w
Presented by Go Hirasawa and Julian Ross, co-curators of the program.
At the peak of student activism in the follow-up to the renewal of the controversial
Anpo: US-Japan Security Treaty, Tsuchimoto’s socially-engaged documentary
traces the struggles of the students of Kyoto University from their discussions to
preparations for armed action. Produced by Ogawa Productions, the film follows
new-left radical Osamu Takita and his debates with students, which are captured
with exceptional intimacy.
–Wed, February 20 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 3:
Noriaki Tsuchimoto
MINAMATA: THE VICTIMS AND THEIR WORLD /
MINAMATA: KANJA-SAN TO SONO SEKAI
1971, 120 min, 16mm, b&w
When fertilizer company Chisso began depositing wastewater with traces of
mercury into the nearby sea, residents of Minimata town in Kyushu began to
show symptoms of what came to be recognized as a dangerous disease. The
first in a series that lasted until his recent death, Tsuchimoto’s socially committed
documentary traces the townspeoples’ struggle to receive a formal apology from
Chisso. The film still enrages audiences and provides crucial warnings against
the perils of industrial pollution.
–Thurs, February 21 at 7:00.
PROGRAM 4:
Katsu Kanai
GOOD-BYE
1970, 52 min, video, b&w
The first postwar Japanese film to be
shot in South Korea, independent filmmaker
Katsu Kanai’s second film, which
forms the loosely configured ‘Smiling
Milky Way Trilogy’, is an absurdly comic
but nevertheless poignant exploration of
Japanese-Korean relations and the roots
of the Japanese bloodline.
“The film uses surrealism and oneiric
imagery as well as the disruptive effects
of the performance as happening both to
fantasize and to subject to ethnographic
scrutiny Japan’s fraught relation to
Korea.” –Ryan Cook, Yale University
–Fri, February 22 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 5:
Shinsuke Ogawa
SANRIZUKA: HETA VILLAGE
/ SANRIZUKA: HETA BURAKU
1973, 146 min, 16mm, b&w
Over the span of ten years and seven
films, beginning in 1968, Ogawa
Productions documented and participated
in the revolt against the building
of Narita airport. Ogawa and his team
lived communally with the farmers and
student activists in Sanrizuka village,
which was to be destroyed and replaced
by runways. A redefinition of the limits of
involvement in documentary filmmaking,
SANRIZUKA: HETA VILLAGE provides
rare insight into grassroots activism and
captures the pressures experienced by
the workers’ and the patience required
for their revolt.
–Sat, February 23 at 6:00.
PROGRAM 6:
Yoshihiro Kato
THE WHITE HARE OF INABA /
INABA NO SHIROUSAGI
1970, 120 min, 16mm-to-video
Zero Jigen, the most notoriously outrageous
performance art group in Japan, described
themselves as having ‘raped the city’ with
their naked rituals enacted on the streets
across Japan. Shot by Masanori Oe, a
member of the Newsreel collective in New
York, the film documents the group’s happenings,
which raged against the commodification
of art represented by the Osaka Expo in
1970, and which they attacked in their activities
for the ‘Joint Struggle Faction of Crashing
Expo ‘70’.
–Sat, February 23 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 7: BUTOH ON FILM:
DANCE IN THE DARKNESS OF
THE CINEMA
Donald Richie SACRIFICE / GISEI
1959, 10 min, 8mm-to-video, b&w
&
Chiaki Nagano
THE PORTRAIT OF MR. O / O-SHI NO SH Z
1969, 59 min, 16mm, b&w
Ankoku Butoh (dance of darkness) was
considered the pinnacle of postwar avantgarde
arts and continues to thrill the world
of modern dance today. Richie’s SACRIFICE
is the first filmed document of their activities
and a rare insight into the movement’s
formative period, while THE PORTRAIT OF
MR. O is the first in a series of collaborations
between Chiaki Nagano and butoh’s
co-founder Kazuo Ohno, whose elegant
gestures grace the screen.
–Sun, February 24 at 6:45.
19

SACRIFICE / GISEI
60s–70s JAPAN, CONT’D
PROGRAM 8: MICHIO OKABE
GENESIS THEORY / TENCHI SZSETSU 1967, 20 min, 16mm, b&w
CAMP / KYANPU 1970, 30 min, 16mm
BOY-TASTE / SHNEN SHIK 1973, 12 min, 16mm
Seen as one of the leading lights of the angura (underground)
and psychedelic arts that proliferated in the late 1960s, Michio
Okabe’s fi lms fi nd their uniqueness in straddling documented
performance and the act of fi lmmaking as performance. The
winner of a prize at the fi rst experimental fi lm festival in Japan
at the Sogetsu Art Center, Okabe’s queer sensibilities, bare-body
rituals, and usurpation of pop songs are reminiscent of Kenneth
Anger’s work.
Total running time: ca. 65 min.
–Sun, February 24 at 8:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 9: BEYOND THE FRAME AND ONTO
NEW SURFACES
Shuji Terayama A YOUNG PERSON’S GUIDE TO THE CINEMA
/ SEISHNEN NO TAME NO EIGA NYMON
1974, 3 min, triple-screen 16mm
Akira Uno TOI ET MOI / OMAE TO WATASHI
1965, 10 min, 16mm, b&w
Tadanori Yokoo ANTHOLOGY 1 1963, 11 min, 16mm
Katsuhiro Tomita THE MARTYR / JYUNKYSHA
1963, 28 min, 16mm, b&w
Shuji Terayama’s triple-projection piece was made for the 100ft
Film Festival hosted by Image Forum and explores imaginary
orgies and strange memories tinted with the three primary
colors. TOI ET MOI by Akira Uno stretches the defi nition of
animation by drawing onto bodies and fogging the images
with smoke, while Tadanori Yokoo remolds his graphic designs
into animation with rhythmic edits. THE MARTYR, a production
closely related to the legendary Nihon University Cinema Club,
boasts a ragged visual fl air.
Total running time: ca. 55 min.
–Mon, February 25 at 7:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 10:
Masao Adachi
GUSHING PRAYER / FUNSHUTSU KIGAN – 15-SAI
NO BAISHUNFU
1971, 72 min, 35mm
A member of Nihon University Cinema Club and scriptwriter for
Nagisa Oshima and Koji Wakamatsu, activist fi lmmaker Masao
Adachi made this unique pink fi lm that is pregnant with political
allegory in the wake of the failed revolution that marked the
1960s. GUSHING PRAYER explores the benumbed disappointment
of failure and the paralysis of youth, depicting teenage
forays into group sex, suicide, and prostitution with a remarkably
desensitized vision.
20
–Tues, February 26 at 7:30.
SERIES
Andrew Sarris
ANDREW SARRIS:
EXPRESSIVE ESOTERICA
February 22-24, March 22-31
With last June’s passing of Andrew Sarris, the global fi lm community suffered a crushing loss. Possibly the
most infl uential of all English-language fi lm critics, Sarris began his career in the pages of FILM CULTURE
(started by Anthology co-founder and Artistic Director Jonas Mekas) and later moved to the VILLAGE VOICE,
where he developed the groundbreaking auteur theory – the notion that directors were the true authors of
motion pictures. Modeled after the CAHIERS DU CINÉMA critics’ Politique des auteurs (Sarris had met Godard
and Truffaut in Paris after WWII), Sarris later admitted the auteur theory was more “a reminder of movies to be
resurrected, of genres to be redeemed, of directors to be rediscovered.”
In 1968, he published the authoritative “The American Cinema: Directors and Directions 1929-1968,” where
he ranked and grouped fi lmmakers into categories – “Less Than Meets the Eye,” “Lightly Likable”, “Strained
Seriousness” – that often still defi ne (and, in some cases, haunt) them to this day. One of the most important
sections proved to be “Expressive Esoterica” (coming right after “Pantheon Directors” and “The Far Side of
Paradise”): “These are the unsung directors with diffi cult styles or unfashionable genres or both. Their deeper
virtues are often obscured by irritating idiosyncrasies on the surface, but they are generally redeemed by their
seriousness and grace.”
In grouping together the work of such marginalized or undervalued fi lmmakers as Joseph H. Lewis, John M.
Stahl, Phil Karlson, and more, Sarris helped to solidify an alternate critical canon. The auteur theory allowed
Hollywood’s disreputable genre craftsmen and studio journeymen to receive the critical attention they so richly
deserved. In tribute to Sarris’s life and work as a writer and teacher, Anthology is pleased to present a small
selection of Sarris-approved Expressive Esoterica. He anointed all these fi lms with the coveted italics in “The
American Cinema”, and they’re all worthy of resurrection, redemption, and rediscovery.
This series has been curated in collaboration with C. Mason Wells, who also wrote the introduction and all fi lm descriptions.
Special thanks to Julian Antos (Northwest Chicago Film Society), Daniel Bish (George Eastman House), Brian Block (Criterion
Pictures), Chris Chouinard (Park Circus), Steven Hill & Todd Wiener (UCLA), Christopher Lane (Sony), Tim Lanza (Cohen Media
Group), Caitlin Robertson (20th Century-Fox), and Marilee Womack (Warner Bros).
André de Toth
DARK WATERS
1944, 90 min, 35mm. Preservation print courtesy of the UCLA Film & Television Archive.
Sarris wrote, “de Toth’s most interesting fi lms reveal an understanding of the instability and outright treachery
of human relationships” – and DARK WATERS offers a moody, Southern Gothic variation on that very dynamic.
After narrowly surviving a steamship accident that kills her parents, traumatized heiress Merle Oberon
develops an extreme fear of water and seeks refuge at her aunt and uncle’s Louisiana plantation. But she
begins to question her sanity once she hears voices coming from the nearby swamp…or is that someone after
her fortune? De Toth’s underrated thriller features a script co-written by Hitchcock collaborator Joan Harrison
and a score by Miklós Rózsa.
–Fri, February 22 at 7:00 and Sat, February 23 at 8:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Stanley Donen
TWO FOR THE ROAD
1967, 111 min, 35mm
Albert Finney and Audrey Hepburn star as a successful architect and his wife in perhaps Donen’s greatest nonmusical,
an achronological romantic comedy-drama that tracks the couple’s dissolution over their successive
trips to the South of France. “The director’s serious temperament is well suited to the serious casting of
Hepburn and Finney, the stylishly brittle script of Frederic Raphael (NOTHING BUT THE BEST, DARLING), and the
tinkly romantic score of Henry Mancini” (Sarris).
–Fri, February 22 at 9:00 and Sun, February 24 at 4:30.

SERIES
TWO FOR THE ROAD THE RIVER’S EDGE
MORNING GLORY
Allan Dwan
THE RIVER’S EDGE
1957, 87 min, 35mm
Ray Milland stars as an anxious thief on the lam,
fleeing to Mexico after lifting a million dollars from a
U.S. bank. He solicits the help of border guide Anthony
Quinn to lead him through the California wilderness and
to freedom – there’s only the small matter of Quinn’s
exasperated wife Debra Paget, who just so happens to
be Milland’s ex-girlfriend. Shooting on location and in
CinemaScope, the madly prolific Dwan transforms this
crime-melodrama quickie into another of his terrific
B-movies. Sarris grouped the film alongside the director’s
SILVER LODE and THE RESTLESS BREED, and said
they “represent a virtual bonanza of hitherto unexplored
classics. …[I]t may very well be that Dwan will turn out
to be the last of the old masters.”
–Sat, February 23 at 5:00 and
Sun, February 24 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Tay Garnett
THE SPIELER
1928, 62 min, 35mm.
Con men Flash and Luke (character actor extraordinaire
Alan Hale and stuntman Clyde Cook) try to elude the
cops by taking jobs at Cleo’s (Renee Adoree) carnival.
When the charismatic Flash falls hard for the ravishing
Cleo, he vows to help her mission of running a respectable
show, but scheming pickpocket Big Flash (the great
heavy Fred Kohler) has other plans in mind. Garnett’s
suspenseful and evocative second feature “[suggests]
that [his] personality is that of a rowdy vaudevillian, an
artist with the kind of rough edges that cause the overcivilized
French sensibility to swoon in sheer physical
frustration” (Sarris).
–Sat, February 23 at 7:00 and
Sun, February 24 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Phil Karlson
THE BROTHERS RICO
1957, 92 min, 35mm
Adapted from a Georges Simenon story, this
no-nonsense noir classic from crime movie master
Karlson (THE PHENIX CITY STORY) stars Richard Conte
as Eddie, the oldest Rico brother and a former mob
accountant pulled back into a world of crime by his
younger siblings. “Karlson’s best film. […] [He] was
most personal and most efficient when he dealt with the
phenomenon of violence in a world controlled by organized
evil. […] Unfortunately, an American director gets
nowhere making films like THE BROTHERS RICO. The
cosmopolitan genre prejudices are too strong” (Sarris).
–Fri, March 22 at 7:00, Mon, March 25
at 9:00, and Sun, March 31 at 4:45.
Joseph H. Lewis
MY NAME IS JULIA ROSS
1945, 65 min, 35mm
Short on money while receiving medical attention in
London, American Julia Ross takes a job as secretary for
the eccentric Hughes family. She falls into a deep sleep
at the Hughes estate, only to awaken in a different house
with another woman’s name and a psychotic fiancé.
After years spent toiling on small B-pictures, Lewis (GUN
CRAZY) was finally given a chance at a bigger production
by Columbia’s Harry Cohn, and this resulting gothic
thriller proved to be his breakthrough: “In 1945, MY
NAME IS JULIA ROSS became the sleeper of the year.
From that point on, the director’s somber personality
has been revealed consistently through a complex visual
style” (Sarris).
–Fri, March 22 at 9:00, Wed, March 27
at 7:15, and Sat, March 30 at 7:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Robert Mulligan
BABY THE RAIN MUST FALL
1965, 100 min, 35mm
Following his success on TO KILL A MOCKINGBIRD,
Mulligan re-teamed with producer Alan J. Pakula, writer
Horton Foote, and composer Elmer Bernstein for another
Southern-set drama, an adaptation of Foote’s play.
Steve McQueen is “particularly memorable” (Sarris) as
an ex-con, country singer, and emotional trainwreck
struggling to do right by wife Lee Remick and his young
daughter and stay on the law’s good side. A literate,
patient, and sincere character study, filled with what
Sarris called the director’s “behavioral beauties.”
–Sat, March 23 at 5:00, Tues, March 26
at 9:00, and Sun, March 31 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Gerd Oswald
FURY AT SHOWDOWN
1957, 75 min, 16mm
Shot in just a week by the great Wilder and Preminger
cinematographer Joseph LaShelle, Oswald’s taut and
tense Western stars John Derek as a gunslinger looking
to settle down to a quiet life of cattle ranching. But when
an old foe has his brother killed, he’s forced to strap on
his guns once again. “Oswald has shown an admirable
consistency, both stylistically and thematically, for a
director in his obscure position. A fluency of camera
movement is controlled by sliding turns and harsh stops
befitting a cinema of bitter ambiguity. …Oswald has
been making distinguished American films that are never
reviewed in the fashionable weeklies and monthlies that
feed off the fashionable and well-publicized projection
room circuit” (Sarris).
–Sat, March 23 at 7:15, Wed, March 27
at 9:00, and Sun, March 31 at 9:00.
Lowell Sherman
MORNING GLORY
1933, 74 min, 16mm.
Katherine Hepburn stars – in only her third film appearance
– as a small-town actress who comes to New York
with dreams of Broadway stardom, but must first navigate
the affections of theater manager Adolphe Menjou and
playwright Douglas Fairbanks, Jr. Sherman, coming off his
own successful acting career, rehearsed the script extensively
and shot the film in sequence, guiding Hepburn to
her first Oscar win. “Sherman deserves an esoteric niche
all his own for the behavioral glories of Katherine Hepburn
in MORNING GLORY…. His civilized sensibility was ahead
of its time, and the sophistication of his sexual humor
singularly lacking in malice” (Sarris).
–Sat, March 23 at 9:00 and
Thurs, March 28 at 7:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
John M. Stahl
HOLY MATRIMONY
1943, 87 min, 35mm
Eager to escape the limelight, a celebrated but reclusive
painter (Monty Woolley) fakes his own death and assumes
the identity of his recently deceased valet, only to discover
the valet was engaged to be married via a matrimonial
agency…and already had a wife. Stahl – perhaps best
known for his melodramas that would be remade by
Douglas Sirk – had, according to Sarris, “a startling
quality of consistency from 1932 on. …[His] strong point
was sincerity and a vivid visual style.” Featuring an Oscarnominated
script by Nunnally Johnson (THE GRAPES OF
WRATH, THE DIRTY DOZEN), this rarely-screened comedy
was described by Sarris as “a success by any standards.”
–Sun, March 24 at 5:00 and
Fri, March 29 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Frank Tashlin
BACHELOR FLAT
1962, 91 min, 35mm
In “Tashlin’s best film” (Sarris), bone-obsessed British
archaeologist Terry-Thomas takes a house for the summer
in Malibu while his fiancée Helen travels to Paris, only to
find a gaggle of adoring young co-eds at his doorstep
and a troublesome Dachshund next door. Then Helen’s
daughter Tuesday Weld appears… “Tashlin is impressively
inventive, particularly with gadgets and animals,”
Sarris wrote, but he especially admired in BACHELOR
FLAT a sweetness and sympathy he found lacking in the
director’s other ribald satires.
–Sun, March 24 at 7:00 and
Sat, March 30 at 9:00.
21

WICHITA
22
SARRIS, CONT’D
Jacques Tourneur
WICHITA
1955, 81 min, 35mm
“Everything Goes in Wichita” – that is, until Joel
McCrea’s former buffalo hunter Wyatt Earp foils
a bank robbery and is recruited to be the town
marshal. Earp reluctantly takes the job looking to
bring order into the lawless cattle town, but when
he starts confi scating fi rearms from the rowdy
cowpunchers, the local leaders decide he’s gone
one step too far. Sarris wrote that Tourneur fi ls
brought “a certain French gentility to the American
cinema,” and this dynamic Western – with its
stunning CinemaScope compositions – offers
plenty of the director’s refi ned sensibility. With Vera
Miles and Lloyd Bridges.
–Sun, March 24 at 9:00, Tues,
March 26 at 7:00, Thurs, March 28
at 9:00, and Sat, March 30 at 5:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Rowland West
ALIBI
1929, 91 min, 35mm
After he’s released from prison, charismatic thug
Chester Morris returns to life with his old gang and
his fi ancée, the police chief’s daughter. But when
a warehouse robbery goes awry, the law’s eyes
fall on Morris, and he must quickly establish a
solid alibi. West’s atmospheric fi rst talkie – fi lmed
exclusively at night – brings the shadowy German
expressionist style to the gangster melodrama,
replete with Art Deco sets from the legendary
designer William Cameron Menzies. “West is one
of the forgotten fi gures of the early thirties. […]
ALIBI remains to be seen and saved from the limbo
of legend” (Sarris).
–Mon, March 25 at 7:00 and
Fri, March 29 at 9:00.
SERIES / SPECIAL SCREENINGS
CHRISTMAS ON EARTH
BARBARA RUBIN
AND ‘CHRISTMAS
ON EARTH’
Barbara Rubin (1945-80) was a fi lmmaker, writer, and
scenester who began working for Jonas Mekas at the
Film-Makers’ Cinematheque in 1963. That same year she
made the landmark two-projector fi lm CHRISTMAS ON
EARTH. Originally titled COCKS AND CUNTS, CHRISTMAS
ON EARTH is a work of sexual tableaux vivants, gay and
straight. Consisting of two separate reels projected one
inside the other, with color gels further enhancing the
images, and accompanied by a contemporary rock radio
soundtrack, it was originally projected onto the Velvet
Underground as they performed during Andy Warhol
Up-Tight, an early version of the Exploding Plastic Inevitable
events.
Rubin was a born matchmaker who allegedly brought
together the Velvet Underground and Warhol, Bob Dylan
and Allen Ginsberg, and, according to John Cale, Edie
Sedgwick with Warhol. She was at the center of it all but
left New York at the end of the 60s, and became heavily
involved in Orthodox Judaism, She died during childbirth
in France in 1980.
CHRISTMAS ON EARTH was one of the 60s underground
movies responsible for unraveling American censorship
laws, and to celebrate this legacy, Boo-Hooray is
publishing a limited-edition book of images from the
fi lm, supplemented by an extended biographical essay
and bibliography by art historian Daniel Belasco. In
conjunction with the publication of this book, as well
as an exhibition at Boo-Hooray featuring still images
and ephemera relating to the fi lm, Anthology will host
a screening featuring CHRISTMAS ON EARTH (1963, 29
min, 16mm), as well as Jonas Mekas’s TO BARBARA
RUBIN WITH LOVE (2006, 7 min, video), and other special
surprises!
For more info regarding the book and exhibition,
please visit: boo-hooray.com
–Wed, January 9 at 7:30.
THREE OF A FEATHER
BROOKLYN-
MONTREAL:
VIDEOZONES
This screening is the inaugural event of the Brooklyn-
Montreal exhibition exchange project. It serves to launch
the project by introducing it to a wider New York public,
and as such it will be the only related event to take
place in Manhattan. Information concerning subsequent
events, including exhibition openings on January 11, 12,
and 13 in Williamsburg, Dumbo, and Bushwick, can be
found by visiting www.brooklynmontreal.com
VIDEOZONES, a compilation of video works by seven
Montreal artists and six Brooklyn artists, is a unique
exploration of the formal and narrative dimensions of
the moving image, with sound, time, archival material,
landscape, and performance serving as compositional
blocks. The short videos address a wide range of subjects
from politics to popular culture, cinematic imagination,
and poetic imagery, some emphasizing form and others
narrative or content.
The selection is curated by Boshko Boskovic, Brooklynbased
independent curator/Residency Unlimited
Program Director, and the Montreal collective La Fabrique
d’expositions (Marie-Eve Beaupré, Julie Bélisle, Louise
Déry, and Audrey Genois), in partnership with Interstate
Projects, Brooklyn, where the works will subsequently be
shown following this premiere. The inaugural event will
include a reception and screening. Many of the artists
will be present along with the curators.
Celia Rowlson-Hall THREE OF A FEATHER
2011, 6 min, video
Olivia Boudreau LA BRÈCHE 2012, 3 min, video
Jacynthe Carrier PARCOURS 2012, 5 min, video
Rosemarie Padovano PALOMA 2012, 4 min, video
Pascal Grandmaison SOLEIL DIFFÉRÉ
2010-12, 4.5 min, video
Sophie Bélair-Clement INTERLUDE
1974- 2012, 4.5 min, video
Tatiana Istomina HAPPY MOSCOW PART 1
2012, 5 min, video
Elisa Kreisinger & Marc Faletti MAD MEN: SET ME
FREE 2011, 3 min, video
Frédéric Lavoie LA VIE APRÈS LA MORT
2012, 4 min, video
Marko Markovic AMERICAN SPRING
2012, 6.5 min, video
Robert Boyd TOMORROW PEOPLE 2012, 6 min, video
Aude Moreau SORTIR 2011, 4.5 min, video
Michel De Broin CUT IN THE DARK 2010, 4.5 min, video
Total running time: ca. 70 min.
–Thurs, January 10 at 8:00.

MARTINA’S PLAYHOUSE
NEW YORK WOMEN
IN FILM & TELEVISION
PRESENTS
NYWIFT’s Member Screening Series provides members with
the opportunity to show their work in a theatrical setting. The
screenings are always followed by a Q&A and an after-party
with cash bar and complimentary food at Dempsey’s Pub, 61
2nd Avenue.
NYWIFT programs, screenings, and events are supported, in part, by grants
from the New York City Department of Cultural Affairs in partnership with the
City Council, and by the New York State Council on the Arts with the support
of Governor Andrew Cuomo and the New York State Legislature.
JANUARY:
RE-SCHEDULED FROM ITS HURRICANE SANDY-
CANCELLED SCREENING IN OCTOBER!
Byron Hurt
SOUL FOOD JUNKIES
2012, 64 min, video.
Food traditions are hard to change, especially when they’re
passed on from generation to generation. In this PBS documentary,
Hurt shares his journey to learn more about the African-
American cuisine known as soul food. Baffled by his father’s
unwillingness to change his traditional soul food diet in the face
of a health crisis, Hurt sets out to learn more about this rich
culinary tradition and its relevance to black cultural identity.
Presented by the film’s Associate Producer and NYWIFT
member Lisa Durden.
–Tues, January 29 at 7:00.
FEBRUARY:
Screening details TBA – please visit: www.nywift.org for
program updates.
–Tues, February 26 at 7:00.
MARCH:
Screening details TBA – please visit: www.nywift.org for
program updates.
–Tues, March 26 at 7:00.
SPECIAL SCREENINGS
PEGGY AHWESH & JOE GIBBONS
The most recent edition of the Views from the Avant-Garde section of the New York Film Festival featured
the premiere of newly preserved works by two of contemporary experimental cinema’s most revered artists,
Peggy Ahwesh and Joe Gibbons. Pioneers of small-gauge filmmaking since the 1970s, Ahwesh and Gibbons
are both superior storytellers who don’t necessarily rely on actors or scripts to tell their inquisitive tales. The
filmmakers are longtime friends, and their works have a certain sympathetic resonance. Blown-up to 16mm
from Super 8, these crucial pieces have never looked or sounded better. Seen today, the films are as surprising,
thoughtful, and darkly funny as they were back in the day.
All films in this program were preserved by Bard College with support from the National Film Preservation Foundation. Preservation
undertaken by BB Optics. Thanks to Peggy Ahwesh, Joe Gibbons, and Vanessa Haroutunian.
Peggy Ahwesh
MARTINA’S PLAYHOUSE
1989, 20 min, Super 8mm-to-16mm blow-up
“In MARTINA’S PLAYHOUSE everything is up for grabs. The little girl of the title oscillates from narrator to reader
to performer and from the role of baby to that of mother. While the roles she adopts may be learned, they are
not set, and she moves easily between them. Similarly, in…Ahwesh’s playhouse of encounters with friends,
objects aren’t merely objects but shift between layers of meaning. Men are conspicuously absent, a ‘lack’
reversing the Lacanian/Freudian constructions of women as Ahwesh plays with other possibilities.” –Kathy
Geritz
Peggy Ahwesh
FROM ROMANCE TO RITUAL
1985, 20 min, Super 8mm-to-16mm blow-up
“FROM ROMANCE TO RITUAL invokes and inverts the title of the 1920 book by Jessie L. Weston as it, like
the book, draws connections between pagan history and ritual and mythology. In one scene, a very animated
woman digs and scratches at the earth to give us a show-and-tell history of the megalithic site at Avebury. A
bit tongue in cheek like playing around in the backyard (Prehistoric Sandbox 101) but not far from the truth in
its reading of the erasure of matriarchal tendencies from traditional histories.” –P.A.
Joe Gibbons
CONFIDENTIAL PART 2
1980, 26 min, Super 8mm-to-16mm blow-up
“Overtly a portrait of the filmmaker confessing his remorse at the scandalous manner in which he gathered
material for his near-classic SPYING, here an eerie interpersonal relationship is developed between the filmmaker
and his camera which culminates in violence. The ‘sin’ as act of the imagination and its degenerative
effect on the personality.” –Henry Hills
Joe Gibbons
SPYING
1977-78, 31.5 min, Super 8mm-to-16mm blow-up
“Too controversial to describe in detail, this film reveals the underlying voyeuristic nature of the cinema-phile.”
–Joe Gibbons
“An exercise in applied voyeurism – a hilariously perverse MAN WITH A MOVIE CAMERA – in which the filmmaker
secretly observes his neighbors (and their pets) sunbathing, gardening, or gazing out of the window.”
–J. Hoberman, VILLAGE VOICE
Total running time: ca. 105 min.
CONFIDENTIAL PART 2
–Thurs, January 31 and Fri, February 1 at 7:30 each night.
23

24
MY MARS BAR MOVIE
ENCORE SCREENINGS!
Jonas Mekas
MY MARS BAR MOVIE
2011, 87 min, video
Premiered here at Anthology last spring, MY MARS BAR MOVIE, Jonas
Mekas’s ode to the now-vanished but never-forgotten local dive bar, is
back for two encore screenings!
Our neighbor ever since we moved to the Second Avenue Courthouse
building in 1988, the Mars Bar represented an undiluted blast of the
old East Village, keeping alive the punk sensibility and anarchic attitude
that are increasingly becoming things of the past in this part of
the city. Though its site has been occupied by yet another glass condo
building, the Mars Bar nevertheless lives on through Mekas’s lens!
“For some twenty years, Mars Bar, at the corner of First Street and
Second Avenue, Manhattan, has been my bar. That’s where we went
for beer and tequila whenever we had to take a break from our work
at Anthology Film Archives, and it was also a bar where most of those
who came to see movies at Anthology ended up after the shows. We
always had a great time at Mars Bar. It was always open, there was
always the jukebox, and very often there was no electricity, and it was
old and messy and it didn’t want to be any other way – it was the last
escape place left in downtown New York. So this is my love letter to it,
to my Mars Bar. Mars Bar as I knew it.” –J.M.
–Thurs, February 7 at 7:30 and Sun, February 24
at 4:45.
SPECIAL SCREENINGS
WE WON’T GROW OLD TOGETHER
MODERN ROMANCE
VALENTINE’S DAY MASSACRE
February 14-17
Anthology marks Valentine’s Day 2012 with a double-feature we’ve long been dreaming of,
a toxic yet sublime pairing of two radically anti-romantic films: Maurice Pialat’s grueling,
autobiographical study of a dysfunctional off-and-on relationship, WE WON’T GROW OLD
TOGETHER, and Albert Brooks’s hilarious yet no less painful MODERN ROMANCE. These two
films are like flip sides of the same coin – Pialat’s may depict brutal emotional violence
while Brooks’s is explicitly comic, but look past their disparate tones and you’ll find that
the two films are nearly identical. Both focus with almost unbearable intensity on a pair of
mismatched lovers and their perpetual conflict, dissecting male narcissism, insecurity, and
egotism with surgical precision and self-deprecatory ruthlessness. And when you factor in the
subterranean vein of absurd humor coursing through Pialat’s film, and the frank confrontation
with the tragedy of contemporary relationships that underlies MODERN ROMANCE, the two
films become even more closely intertwined.
So, if you find yourself rebelling against the blind, commercialized sentimentality of Valentine’s
Day this February, there can be no better antidote than the strong medicine of a Maurice
Pialat/Albert Brooks double-whammy. We can’t recommend both films highly enough – even
while we dare you to undergo the trial of seeing them in one sitting!
Thanks to Michael Horne & Christopher Lane (Sony) and Jacob Perlin (The Film Desk).
Maurice Pialat
WE WON’T GROW OLD TOGETHER /
NOUS NE VIEILLIRONS PAS ENSEMBLE
1972, 110 min, 35mm. In French with English subtitles. With Jean Yanne & Marlene Joubert.
“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of
a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted
terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements,
sudden mood shifts, moments of irrational anger, and displays of stinging contempt,
presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and
you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class
lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not
only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of
brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say
you’re sorry.’” –Dave Kehr, FILM COMMENT
–Thurs, February 14 at 6:45, Fri, February 15 at 9:00, Sat, February
16 at 6:45, and Sun, February 17 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Albert Brooks
MODERN ROMANCE
1981, 93 minutes, 35mm. With Albert Brooks, Kathryn Harrold, Bruno Kirby, George Kennedy, and James L.
Brooks.
MODERN ROMANCE may be Albert Brooks’s least-known film, but arguably it’s his greatest –
the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately
the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who
breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his
mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia.
Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction,
MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic
films have achieved. Only Brooks could make a deadpan comedy about a man who’s very
nearly psychotic. Painfully funny, with the emphasis on ‘funny’.
–Thurs, February 14 at 9:15, Fri, February 15 at 7:00, Sat, February
16 at 9:15, and Sun, February 17 at 7:00.

STEREO
AFA MEMBERS-
ONLY
SCREENING!
DAVID CRONENBERG’S ‘STEREO’
Once every calendar we offer a special, AFA
Members-Only screening, featuring sneakpreviews
of upcoming features, programs of
rare materials from Anthology’s collections,
in-person filmmaker presentations, and more!
The benefits of an Anthology membership
have always been plentiful: free admission to
over 100 Essential Cinema programs, reduced
admission to all other shows, discounted AFA
publications. But with these screenings – free
and open only to members – we sweeten the
pot even further.
David Cronenberg
STEREO
1969, 65 min, 35mm
Recognized today as one of our most preeminent
auteurs, David Cronenberg has achieved
international critical and popular success in the
many years that followed his little-seen first
featurette, STEREO. As disquieting and multilayered
as many of his better-known works
(which include THE BROOD, VIDEODROME,
DEAD RINGERS, and CRASH, among many
others), STEREO is an early foray into the unique
brand of corporeal and intellectual horror that
gave us the term “Cronenbergian”. Set within
the walls of the Canadian Academy of Erotic
Enquiry, Dr. Luther Stringfellow embarks on a
series of experiments to find a suitable replacement
for the “obsolescent family unit”. His
subjects exhibit pronounced telepathic abilities,
as well as ambiguous sexual desires. STEREO
establishes themes that Cronenberg would
return to many times over the years, and is
clearly related to the early short films he made
in the mid-to-late 1960s under the influence of
the New York experimental film scene. Not quite
a student film, and at 65 minutes only barely a
feature, STEREO is a wonderfully insightful and
rarely seen curiosity.
We are happy to screen STEREO with a secret
short from Anthology’s collection. Expect the
unexpected!
–Tues, March 5 at 7:30.
SPECIAL SCREENINGS
FERLINGHETTI: A REBIRTH OF WONDER
BEATS ON FILM
In conjunction with the NYU Grey Art Gallery’s exhibition ‘Beat Memories:
The Photographs of Allen Ginsberg’, Anthology presents two
programs of films featuring Ginsberg as well as many other luminaries
of the Beat movement.
On view at the Grey Art Gallery, NYU (100 Washington Square East) from
January 15-April 6, ‘Beat Memories’ presents an in-depth look at the
Beat Generation through the lens of Allen Ginsberg, featuring some
110 black-and-white photographs by him including portraits of William
S. Burroughs, Neal Cassady, Gregory Corso, Jack Kerouac, and many
others, along with self-portraits.
For more info, visit www.nyu.edu/greyart
Two other seminal Beat films will be screening at Film Forum in
January: Robert Frank’s PULL MY DAISY (January 12) and ME AND MY
BROTHER (January 14). For more info, visit www.filmforum.org
Special thanks to Lucy Oakley (Grey Art Gallery, NYU), Eric Liknaitzky (Contemporary
Films), Marian Luntz & Tracy Stephenson (Museum of Fine Arts, Houston), and Paul
Marchant (First Run Features).
Robert Frank
THIS SONG FOR JACK
1983, 30 min, 16mm, b&w. With Allen Ginsberg, David Amram, Gary Snyder, William
Burroughs, Carolyn Cassady, and Lawrence Ferlinghetti. © Robert Frank, 1983,
distributed by The Museum of Fine Arts, Houston.
Based on footage Robert Frank shot at “On the Road: The Jack Kerouac
Conference”, held at the Naropa Institute, Boulder, Colorado, from July
23 to August 1, 1982. The film is dedicated to Kerouac, Frank’s late
friend and collaborator on PULL MY DAISY and THE AMERICANS.
&
Peter Whitehead
WHOLLY COMMUNION
1965, 33 min, 35mm, b&w
Captures the historic event at the Royal Albert Hall on June 11, 1965,
where an audience of 7,000 witnessed the first meeting of American
and English Beat poets. Among the performers featured are Allen
Ginsberg, Lawrence Ferlinghetti, Alexander Trocchi, Gregory Corso, and
Adrian Mitchell.
–Sat, March 9 at 7:15 and Sun, March 10 at 8:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Christopher Felver
FERLINGHETTI: A REBIRTH OF WONDER
2009, 79 min, video
This definitive documentary explores the world of Lawrence Ferlinghetti,
San Francisco’s legendary poet, artist, publisher, and civil libertarian.
Felver’s one-on-one interviews with Ferlinghetti, made over the course of
a decade, touch upon a rich mélange of characters and events that began
to unfold in postwar America, including the publication of Allen Ginsberg’s
HOWL, William S. Burroughs’s NAKED LUNCH, and Jack Kerouac’s ON
THE ROAD, as well as the divisive events of the Vietnam War, the sexual
revolution, and this country’s perilous march towards intellectual and
political bankruptcy.
–Sat, March 9 at 9:00 and Sun, March 10 at 6:30.
SCREEN LOUD
FILM FESTIVAL
Since its first edition in 2009, the Screen
Loud Film Festival has been committed
to programming a broad range of short
fiction and documentaries that explore
the theme of being a ‘foreigner’ searching
for a way to express oneself in a new
world. Traversing the barriers of crosscultural
communication, the foreigner is
one who explores ways beyond words
to express him- or herself and SCREEN
LOUD. Emphasizing the universality of
the image over the singularity of each
culture and language, we are screening
a selection of shorts that use film as a
‘visual Esperanto’ that defies linguistic,
cultural, and geographical barriers and
speaks to all through the language of
cinematography.
–Fri, March 15 at 7:30.
UNESSENTIAL
CINEMA
PRESENTS:
IF FILM IS DEAD…LONG
LIVE VIDEO!
The endless hype about the death of
film is frankly very boring. People really
need to get a life, and we are here to
help. Rather than fetishize celluloid
or pretend that it is the most superior
format ever known to mankind, this
edition of UNESSENTIAL CINEMA focuses
on hidden video gems from our deep
and ever-growing collections. Freshly
digitized from antiquated formats or
presented from the original tapes (VHS!),
this program brings together a crazy
array of art, non-art, known, unknown,
really good, and pretty bad works that
have never, ever been shown on film.
And never will be.
–Thurs, March 21 at 7:30.
25

26
SPECIAL SCREENINGS / NEWFILMMAKERS
THE SECRET LIFE OF…ANTHOLOGY FILM ARCHIVES
A once-a-calendar opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA’s
staff, friends, fellow-travelers, and devotees.
–Sun, March 31 at 8:00.
NEWFILMMAKERS NY SERIES
The NewFilmmakers Screening Series selects films and videos often overlooked by traditional film festivals. In addition to Seasonal Festivals, NewFilmmakers NY screens every
week at Anthology Film Archives.
The NewFilmmakers Series began in 1998 and over the past fifteen years has screened over 700 features and 2,750 short films. In 2002 we started NewFilmmakers Los
Angeles. Many well-known shorts and features including BLAIR WITCH PROJECT and TOO MUCH SLEEP have had their initial screenings at NewFilmmakers.
NewFilmmakers LA now screens monthly at the Sunset Gower Studio in Hollywood. Last year we began NewFilmmakers Online, which gives filmmakers the opportunity to exhibit
and distribute their films directly to the public. NewFilmmakers also programs the Soho House Screening Series in New York & Los Angeles.
Programs are subject to change; check our schedule online at www.newfilmmakers.com for updated information. NewFilmmakers is sponsored by Barney Oldfield Management,
Angelika Entertainment, Prophet Pictures, SXM, and H2O Distribution.
Please note that the NewFilmmakers series is not programmed or administered by Anthology Film Archives staff; for further information, please address questions via telephone
or email as listed below.
NEWFILMMAKERS NY FILM SCHOOL SERIES
NewFilmmakers regularly invites leading film schools to present films and discuss their programs with potential students. This calendar we host Vassar College and Digital Film
Academy students.
NEWFILMMAKERS NY SPECIAL PROGRAM SERIES
Our various Group Screening Series give new filmmakers a chance to reach their audiences. The NewLatino Series is now in its tenth year. We also present Middle East NewFilmmakers;
a Women Filmmakers Series; an Animation Screening Series; and a Gay/Lesbian Screening Series; as well as special programs curated by Third World Newsreel.
SUBMIT YOUR FILM/VIDEO
For more information and an application form write us or visit us at www.newfilmmakers.com. Films can be submitted directly on www.newfilmmakers.com or
www.withoutabox.com.
CONTACT INFORMATION:
Bill Woods, New York Director
Larry Laboe, Los Angeles Director
Patrick Duncan, Los Angeles Director Emeritus
Bill Elberg, NewFilmmakers Online Co-Director
Jessica Canty, NewFilmmakers Online Co-Director
Edwin Pagan, National Latino Programming
Moniere, Middle East Programming
Tel: 323-302-5426
barney@newfilmmakers.com
P.O. Box 4956, New York, NY 10185-4956
NEWFILMMAKERS STARTS THE NEW YEAR
WITH WINTER FEST 2013
Lili White, Women’s Programming
Eric Leiser, Animation Programming
Brandon Ruckdashel, Marketing Director
Eric Norcross, Media Director
Barney Oldfield, Executive Producer
FIRST SHORT FILM PROGRAM
Anthony Furlong POETICA (2012, 4 min, video)
Felix van Cleeff HET VIOLETTE UUR (2011, 17 min, video)
Judianny Compres HAPPY NEW YEAR! (2012, 21 min, video)
Stiven Luka FISH WILL BITE (2012, 24 min, video)
SECOND SHORT FILM PROGRAM
Michael Kirkland CHOICES (2012, 16 min, video)
Jacob Sacksofsky-Berch BUT NOT SO MUCH (2012, 22 min, video)
FEATURE PRESENTATION
Mary Kerr
RADIOMAN
2011, 79 min, video
The story of an extraordinary eccentric, a formerly homeless man who over the years
has become a New York film-set mascot with over 100 small parts to his name.
–Wednesday, January 2, First Short Program at 6:00, Second
Short Program at 7:15, Feature at 8:30.
NEWFILMMAKERS CELEBRATES VAMPIRE AND
HORROR FILMS
FIRST SHORT FILM PROGRAM
about Vampires
Tim Meester TALES OF THE TRAVELER (2012, 15 min, video)
Barrett Perlman DIARY OF A VAMPIRE (2012, 15 min, video)
Mark Abramowitz DUSK (2012, 17 min, video)
SECOND SHORT FILM PROGRAM
about Horror & Science Fiction
Jack Wheeler SYSTEM MALFUNCTION (2012, 5 min, video)
Benjamin Murray BOYS, GIRLS AND ZOMBIES? (2012, 6 min, video)
Yu Nakajima REMIND (2001, 9 min, video)
Joseph Villapaz NO ONE LIVES FOREVER (2012, 9 min, video)
Darian Brenner ABYSS (2012, 13 min, video)
Terence Bernardo CHORES (2011, 16 min, video)

NEWFILMMAKERS
Check www.newfilmmakers.com for complete program information.
FEATURE PRESENTATION
Sophia Robbins BLOOD DRIVE: THE BEGINNING (2011, 32 min, video)
&
Rupesh Paul
SAINT DRACULA 3D
2012, 80 min, 16mm
Longing for vengeance, he waited in hunger and thirst for his long lost admirer.
The night hid him in the dark, the earth and the woods were his haven. He is a
fallen angel, a catastrophic lover, the trodden Prince of Wallachia, but a vampire
in revenge.
–Thursday, January 3, First Short Program 6:00, Second Short
Program 7:00, Feature at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CELEBRATES DRINKING,
DRUGS, AND FILMMAKING (WHY WE GOT INTO
IT IN THE FIRST PLACE)
FIRST SHORT FILM PROGRAM
about Drinking & Drugs
Bernd Porr NEDBALL (2012, 12 min, video)
Nicco Quinones BREAKING (2012, 19 min, video)
Richard Davis LAST SHOTS (2012, 36 min, video)
SECOND SHORT FILM PROGRAM
about Filmmaking
Zade Constantine ELIZABETH VOSS (2012, 4 min, video)
David Marriott BACKLOT (2012, 10 min, video)
Joshua D. Nelson BOX OFFICE ROMANCE (2011, 14 min, video)
Kevin Gay LIKE INGRID BERGMAN (2012, 17 min, video)
FEATURE PRESENTATION
Ethan Dawes
GO FOR BROKE
2012, 68 min, video
A handful of twenty-somethings just out of college make a feature about a handful
of twenty-somethings just out of college.
–Friday, January 4, First Short Film Program at 6:00, Second
Short Film Program at 7:30, Feature at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS NEW FILMS
ABOUT URBAN REALITIES
DOCUMENTARY SERIES
Oscar Sanders
BILLY BANG
2012, 77 min, video
A documentary about the late legendary composer/jazz violinist Billy Bang.
SHORT FILM PROGRAM
Kyle Greenberg SHOP TALK (2012, 9 min, video)
Anna Stypko LISPENARD (2102, 9 min, video)
Paige Jennifer Barr TAKE IT OFF (2012, 10 min, video)
Danielle Lessovitz THE EARTHQUAKE (2012, 10 min, video)
Shauntay Cherry JUST ANOTHER PART OF ME (2012, 15 min, video)
FEATURE PRESENTATION
Daminico Lynch
THE STRANGERS
2012, 78 min, video
Two separate stories with the same theme are centered on taciturn individuals who
are drawn into tragically senseless incidents.
–Saturday, January 5, Documentary Series at 6:00, Short Film
Program at 7:30, Feature at 8:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS DOC NIGHT
FIRST SHORT FILM PROGRAM
Patrick Tarrant HUDSON RIVER LANDSCAPES (2012, 9 min, video)
Anna Moot-Levin TRACK BY TRACK (2012, 16 min, video)
Carla Granat SINGING BILL O’REILLY (2012, 27 min, video)
SECOND SHORT FILM PROGRAM
Esther Podemski THE PEASANT AND THE PRIEST (2010, 47 min, video)
THIRD SHORT FILM PROGRAM
Dulce Fernandes LETTERS FROM ANGOLA (2011, 63 min, video)
FEATURE PRESENTATION
John Meyer
ATITLAN IN BLOOM
2012, 77 min, video
This journey to the villages and towns surrounding Lake Atitlan in the central
highlands of Guatemala highlights the region’s unique mix of cultures and beliefs
through an eccentric cast of characters and chance encounters.
–Sunday, January 6, First Short Film Program at 6:00, Second
Short Film Program at 7:00, Third Short Film Program at 8:00,
Feature at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS FILMS ABOUT ART AND
MUSIC
DOCUMENTARY SERIES
Mark Lechner FREE (2012, 40 min, video)
A portrait of Konstantin Bokov, an artist who for over 35 years has used NYC’s trash
and refuse as materials for his art.
SHORT FILM PROGRAM
Dominic Traverzo FUTILITY (2012, 3 min, video)
Iemi Hernandez-Kim MOON HOOCH – TUBES (2012, 5 min, video)
Alicia Maye HAVE A CUP OF TEA (2012, 6 min, video)
Charly Wenzel GLOBAL TIDES (2012, 7 min, video)
Zachary Schamberg SAMPLING (2012, 12 min, 16mm)
Matthias Rosenberger SPAGHETTI FUR ZWEI (2011, 19 min, video)
FEATURE PRESENTATION
Kevin McKinney
CORPORATE FM
2012, 74 min, video
In 1996 commercial radio underwent a quiet revolution. Local station owners
everywhere sold their stations as fast as they could to conglomerates, and the new
owners gutted the staffs. CORPORATE FM is about what happens when a city loses
a communal microphone.
–Monday, January, 7, Documentary Series at 6:00, Short Film
Program at 7:00, Feature at 8:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS NEW FILMS
SPECIAL PROGRAM
curated by Tova Beck-Friedman
Valerie Soe THE CHINESE GARDENS (2012, 18 min, video)
Glenn Stewart JESUS MAIVERDE (2012, 5 min, video)
Tony Gault FOUR CUBIC FEET OF SPACE (2010, 8 min, 8mm)
Jeremey Newman DERF (2012, 4 min, video)
Jean-Gabriel Periot LES BARBARES (2012, 5 min, video)
Christina Campagola & Lauren Brinkman KINGDOM INCORPORATED (2012, 16 min,
video)
FIRST SHORT FILM PROGRAM
Alex Nathanson RAT KING (2012, 7 min, video)
Roberto Ferri IF I MAKE IT, I WIN (2012, 14 min, video)
Reed O’Beirne LAST OF OUR KIND (2012, 14 min, 8mm)
Peter Valente SURVEY OF BRUTALITY (2012, 18 min, video)
SECOND SHORT FILM PROGRAM
Cate Carson MY PRETTY MAURA (2012, 14 min, video)
Roberto Marquez PRETTY GIRLS (2012, 13 min, video)
Seong Jae Min PRETTY BOYS (2012, 33 min, video)
27

FEATURE PRESENTATION
Eugene Ioannou OFF SEASON (2012, 23 min, video)
&
Katie Carman
OFF SEASON
2012, 90 min, video
Sylvie Stone takes refuge in an isolated beach hideaway after her husband is
convicted of a sweeping act of financial fraud. Demonized in the press, and afraid
to venture out into public, Sylvie savors the isolation, until a series of frightening
occurrences lead her to discover she’s being stalked by a mysterious presence.
–Tuesday, January 8, Special Program at 6:00, First Short Film
Program at 7:15, Second Short Film Program at 8:15, Feature
at 9:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS WINTER FESTIVAL 2013
CLOSING NIGHT
SPECIAL PROGRAM
with Third World Newsreel
SHORT FILM PROGRAM
Dan A. R. Kelly CAR JACKED (2012, 5 min, video)
Joy Ji Yang MOMMY LOVES YOU (2012, 8 min, video)
Anna Simone Scott THE AERIAL GIRL (2011, 10 min, video)
Lauren Lillie PAYING FOR IT (2011, 22 min, video)
FIRST FEATURE PRESENTATION
Eric Chaney
INDIGO CHILDREN
2011, 70 min, video
A mysterious girl woos a young man. The loneliness and uncertainty that result
after the death of the young man’s parents and the disappearance of the girl’s uncle
weave a common thread between them in this love story between two people too
young to be left alone.
SECOND FEATURE PRESENTATION
Stephen Root
UNCONSCIOUS
2012, 90 min, video
A comedy about Raymond Hopajoki, A.K.A. Hop, a small town guy with big dreams
of becoming a novelist. Unfortunately, he’s got one problem – he’s got nothing to
write about.
–Wednesday, January 9, Special Program at 6:00, Short Film
Program at 7:00, First Feature at 8:00, Second Feature at 9:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS STARTS ITS WINTER 2013
SERIES
DOCUMENTARY SERIES
Joey Huertas IN THE UPPER ROOM (2012, 5 min, 8mm)
Amanda Zackem THE BLACK SERIES (2012, 6 min, video)
Bayou Bennett & Daniel Lir L.A. ABORIGINAL (2011, 9 min, video)
Eric Unverzagt DIE LEICA IM WALD (2012, 14 min, video)
Wayne Thomas PASSION AND ACCEPTANCE (2012, 16 min, video)
FIRST SHORT FILM PROGRAM
Julie Nymarin WALKING IN THE MIND (2011, 6 min, video)
Sheila Mitchell Simmons REPRIEVE (2012, 16 min, 35mm)
Jodi C. Harrison BILLIE SPEARE (2012, 20 min, video)
Steven Tylor O’Connor WELCOME TO NEW YORK (2012, 30 min, video)
SECOND SHORT FILM PROGRAM
about Dogs
Joshua Sampson 3 TASKS FOR THE TELEKINETIC IN TRAINING (2010, 2 min, video)
Patricia McInroy FOUND: NOTHING MISSING (2009, 3 min, video)
Perri Nemiroff TREVOR (2011, 11 min, video)
Paolo Sedazzari STASI DOG (2011, 10 min, video)
Aoife Naughton OSCAR (2011, 12 min, video)
28
NEWFILMMAKERS
FEATURE PRESENTATION
Mariano Wainsztein
THE ANIMAL IN YOU
2012, 63 min, video
Renowned countertenor and 2012 Grammy nominee Andreas Scholl pays homage
to his vocal coach Richard Levitt.
–Wednesday, January 16, Documentary Series at 6:00, First
Short Film Program at 7:00, Second Short Film Program at
8:30, Feature at 9:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CONTINUES ITS WINTER
SEASON WITH A NIGHT OF CRIME AND PUNISH-
MENT. THERE WILL BE BLOOD.
FIRST SHORT FILM PROGRAM
Matt Carmody SAFE ROOM (2012, 13 min, video)
Sky Wang YOU BET (2012, 14 min, video)
Mike Caravella RIVERED ME … (2012, 15 min, 16mm)
Jacob Ruby ANOTHER SHADE OF BLACK (2012, 19 min, video)
SECOND SHORT FILM PROGRAM
Shaun Katz SLEEPING IN BLOOD CITY (2011, 14 min, video)
Sheila Michell Simmons REPRIEVE (2012, 17 min, video)
Evin Eikenberg TO ALL MEN (2012, 20 min, video)
Robert Nazar Arjoyan MIDNIGHT FISTFIGHT (2012, 24 min, video)
FEATURE PRESENTATION
Daminico Lynch
BROKEN WINGS
2012, 99 min, video
Three people struggle with personal trials: a female foreign student works as a
prostitute, a paralyzed man experiences hardship with his physical condition, and
an ex-soldier searches for his general’s murderer.
–Wednesday, January 23, First Short Film Program at 6:00,
Second Short Film Program at 7:15, Feature at 8:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS ITS COLLEGE
FILM PROGRAM AND A COMEDY MARATHON
COLLEGE SCREENING SERIES
Vassar College
Liam Lee CCYL: CHINATOWN COMMUNITY YOUNG LIONS (2011, 14 min, video)
Cassandra Gomes CIRCLE CIRCLE DOT DOT (2012, 14 min, video)
Eric Schuman THE FAMILY BUSINESS (2012, 14 min, video)
COLLEGE SCREENING SERIES
Digital Film Academy
TBA
SPECIAL PRESENTATION
Comedy Marathon (Vote For Your Favorite Film)
Jack McWilliams HOW TO KILL YOUR CLONE (2011, 5 min, video)
Linda Anderson THE HAPPIEST COUPLE (2012, 6 min, video)
Yasmine Gomez TERRA COTTA (2011, 6 min, video)
Matt Kliegman BOMB FETISH (2012, 9 min, video)
Adrian McFarlane GOODBYE, CRUEL WORLD (2012, 15 min, video)
Mary Gillen SNOWBALL (2011, 15 min, video)
A. Todd Smith MR. BELLPOND (2012, 20 min, video)
Sam Nulman NEON CELLULITE (2012, 27 min, video)
–Wednesday, January 30, First College Film Program at 6:00,
Second College Film Program at 7:00, Special Presentation at
8:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS NEW FILMS
FIRST SHORT FILM PROGRAM
Lori Bowen JUSTUS (2011, 6 min, video)
Dee Robertson I KILL FLOWERS TO SAVE THE WORLD (2011, 7 min, video)
Hilton Ruiz 6-6-66 (2012, 8 min, video)
Natalie Smith SHED (2011, 8 min, video)

Travis Greene DEER HEAD VALLEY (2012, 10 min, video)
Gino Gianoli THE GREAT DESTROYER (2010, 20 min, 16mm)
SECOND SHORT FILM PROGRAM
Scott Eriksson THE LEARNING CURVE (2012, 10 min, video)
Javier Melendez MUTE (2011, 16 min, video)
Sal Fusco OFF LIMITS (2012, 30 min, video)
FEATURE PRESENTATION
TBD – visit newfilmmakers.com for more info.
–Wednesday, February 6, First Short Film Program at 6:00,
Second Short Film Program at 7:15, Feature at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CELEBRATES VALENTINE’S
DAY
SHORT FILM PROGRAM
Ian Savage TIMELESS SEASONS: WOMEN’S HISTORY (2012, 5 min, video)
Pornsak Pichetshote A CONVERSATION ABOUT CHEATING (2012, 8 min, video)
Josh Accardo KILLER EYES (2012, 10 min, video)
Josh Cohen DREAMCATCHERS (2011, 14 min, video)
Yana Alliata di Montereale REQUIEM FOR EMILY (2011, 15 min, video)
Alexa DiCambio OUT OF THE BLUE (2012, 16 min, video)
FIRST FEATURE PRESENTATION
Maja Dueholm SUNFLOWER (2012, 14 min, video)
&
Anthony Misiano
MOONFLOWER
2011, 44 min, video
The story of Scott, a hopeless romantic with a broken heart at a crossroads in his
life. Unsure of his every move, Scott is thrown into an unfamiliar world and launched
headfirst on a quirky, sometimes surreal adventure.
SECOND FEATURE PRESENTATION
Darren Press
THERESA IS A MOTHER
2012, 101 min, video
Theresa McDermott has chased her ‘ideal’ life as an urban-dwelling, punk-ish
singer/songwriter to its very end. She’s broke, facing eviction, and raising three
kids on her own. Her only option is to move back to the rural town and parents she
escaped a decade ago….
–Wednesday, February 13, Short Film Program at 6:00, First
Feature at 7:30, Second Feature at 8:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS NEW JEWISH AND
ISRAELI FILMS
FIRST SHORT FILM PROGRAM
Daniela Flynn TWO (2011, 8 min, video)
Benjamin Wlodawer NUMBERS (2011, 9 min, video)
Justin Ostein ADAM’S TALLIT (2010, 17 min, 35mm)
Pearl Gluck WHERE IS JOEL BAUM (2012, 29 min, video)
SECOND SHORT FILM PROGRAM
from Israel
Smadar Zamir BETWEEN THE LINES (2010, 16 min, video)
Lina Gartsman HOUSE WARMING (2010, 25 min, video)
Inbal Gibrolter FLOATING LATZUF (2010, 30 min, video)
FEATURE PRESENTATION
Benjamin Orifici
BROOKLYN BREACH
2012, 94 min, video
Follows the arc of three Brooklyn families whose lives are under constant hidden
surveillance. As we voyeuristically examine their secret lives, we follow each
family’s descent toward its own life-changing event.
–Wednesday, February 20, First Short Film Program at 6:00,
Second Short Film Program at 7:15, Feature at 8:45.
NEWFILMMAKERS
NEWFILMMAKERS PRESENTS A NIGHT OF
COMEDY
FIRST SHORT FILM PROGRAM
Lucy Reevely AD ALTA (2012, 9 min, video)
Devin Johnson SUBTERRANEAN VEIN (2012, 15 min, video)
Ellen Jacobs DEAD SERIOUS (2011, 21 min, video)
Ash Blodgett HOLD UP (2011, 28 min, video)
SECOND SHORT FILM PROGRAM
George Basliev (UN)LUCKY (2012, 11 min, video)
Arron Shiver GOOD LUCK, MR. GORSKI (2011, 15 min, 35mm)
Justin Miller A LADY CAN LIVE THROUGH ANYTHING (2010, 17 min, video)
Ryan Eggold LITERALLY, RIGHT BEFORE AARON (2011, 23 min, video)
FEATURE PRESENTATION
Joshua Martin
SHOEBOX
2011, 73 min, video
A man and a woman refuse to leave their apartment. They undertake a series of
esoteric and nonsensical games to pass the time. Though they run out of food and
things to say to each other, they become resigned to never leaving their apartment.
–Wednesday, February 27, First Short Film Program at 6:00,
Second Short Film Program at 7:30, Feature at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS A NIGHT OF NEW
FILMS
FIRST SHORT FILM PROGRAM
Kate Marks HOMEBODY (2011, 12 min, video)
Lutfu Enre Cicek MAC & CHEESE (2011, 15 min, video)
Grace Lee LUCID DREAM (2012, 16 min, video)
Brian Paccione BROTHERS (2011, 18 min, video)
SECOND SHORT FILM PROGRAM
Francesca Coppola FLAMINGOS (2012, 16 min, 16mm)
Anthony Bushman FOUND (2011, 18 min, 35mm)
Paul Voss PAIN OF THE PEOPLE (2012, 43 min, video)
FEATURE PRESENTATION
Craig DiFolco
THE LAST DAY OF AUGUST
2012, 75 min, video
After being stricken with paralysis, and following months of recovery, Dan retreats
to a family cabin in upstate New York. On the last day of August, his closest friends
arrive unannounced to confront him about his recent reclusive and self-destructive
behavior, only to find that he’s involved in a relationship with Shannon, a local waitress.
–Wednesday, March 6, First Short Film Program at 6:00,
Second Short Film Program at 7:30, Feature at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS LATINO FILMS
DOCUMENTARY SERIES
Alan Spearman MADRE (2012, 3 min, video)
Defne Enc & Alonso J. Lujan TIME, AGAIN (2012, 8 min, video)
Nicholas Davis MONTESPANA (2012, 27 min, video)
Sara Masetti UNDOCUMENTED DREAMS (2012, 15 min, video)
SHORT FILM PROGRAM
Michael Martinez OVERCOME (2012, 6 min, video)
Orlando Brenes THE CROSS (2012, 14 min, video)
Emmeline Wiks-Dupoise SPEECH ART (2011, 15 min, video)
Edgar Jim THE EVIL’S FATE (2012, 15 min, 35mm)
Elisa Cepedal AY PENA (2011, 20 min, video)
FEATURE PRESENTATION
Robert Pietri
SEMPER FIDEL
2012, 81 min, video
In the wake of his estranged father’s death, Jim Acosta, a U.S. Marine, goes to
29

30
ANTHOLOGY’S TWO THEATERS ARE
AVAILABLE TO RENT!
• Prime-time and afternoon hours available throughout the year.
• Hold your fi lm festival, public, private, or test screening, class,
performance, or party at Anthology Film Archives.
• We can accommodate 35mm & 16mm fi lm, as well as multiple video formats.
• In addition, each theater has a lobby which is ideal for receptions, information
tables, merch sales, etc.
Courthouse Theater:
187 seats / $300 per hour
Deren Theater:
74 seats / $250 per hour
NEWFILMMAKERS / FESTIVALS
Havana to learn about his father’s past. Meeting his still-living grandfather, a bond is
created that will change Jim’s life forever.
–Wednesday, March 13, Documentary Series at 6:00, Short
Film Program at 7:00, Feature at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS REMEMBERS THE TRIANGLE
FIRE
DOCUMENTARY SERIES
Jesse Veverka
CHINA: THE REBIRTH OF AN EMPIRE
2010, 86 min, video
SHORT FILM PROGRAM
about Business
Orit Ben-Shitrit (2012, 15 min, video)
Ryan Kwon BITTER SWEET LIFE (2012, 18 min, video)
Josh Seven CARPE DIEM (2012, 23 min, video)
Alexis Holloway APARTMENT 6E (2012, 28 min, video)
FEATURE PRESENTATION
Sasha Reuther
BROTHERS ON THE LINE
2012, 80 min, video
A provocative documentary exploring the legacy of the Reuther brothers, labor and
civil rights champions, whose leadership of the United Auto Workers (UAW) union
transformed the social, economic, and political landscape of a nation.
–Wednesday, March 20, Documentary Series at 6:00, Short
Film Program at 7:45, Feature at 9:30.
We have the best rates in the city and the most fl exibility to meet your needs!
TO BOOK YOUR EVENT: call Tim at (212) 505-5181 ext.15
or email:
tim@anthologyfi lmarchives.org
NEWFILMMAKERS WINTER SEASON FINAL
NIGHT
FIRST SHORT FILM PROGRAM
Kate Balandina LUNCH SPECIAL (2012, 2 min, video)
Ljiljana Novakovic IT TAKES TWO (2012, 5 min, 16mm)
Joanna Maracle THE SHEPHERD (2012, 10 min, 16mm)
Nina Ljeti JEFFREY (2012, 11 min, video)
Kim Garland VIVIENNE AGAIN (2012, 12 min, video)
Constantinos Yiallourides COMPULSION (2011, 17 min, video)
SECOND SHORT FILM PROGRAM
Justin Kulik THIRTY YEARS IN RENO (2012, 10 min, video)
Dani Zarandieta 12:26-12:31 (2011, 17 min, video)
Nick Flint BRIDGE (2012, 32 min, video)
FEATURE PRESENTATION
Timothy L. Anderson
TWO HUNDRED THOUSAND DIRTY
2012, 90 min, video
At the suburban strip mall store Affordable Mattress, new employee Isabelle is hired
in hopes of improving dismal sales. After recruiting Rob and Manny, the unrefi ned
and uncouth sales force behind the store, as well as fellow strip mall burnout Martin,
she’s got everyone working together to split a common goal: $200,000.
–Wednesday, March 27, First Short Film Program at 6:00,
Second Short Film Program at 7:15, Feature at 8:30.
CINEKINK PRESENTS… CINEKINK: NYC
February 26-March 3
The tenth annual CINEKINK: NYC – “the kinky fi lm festival!” – will feature a program of fi lms and videos that cut across orientations to celebrate and explore a wide
diversity of sexuality.
Presented by CineKink, an organization that encourages and promotes sex-positive and kink-friendly depictions in fi lm and television, the festival showcases works
ranging from documentary to drama, camp comedy to artsy experimental, mildly spicy to quite explicit – and everything in between.
Screenings at Anthology will run February 27-March 2.
For the full schedule, advance tickets, and information on the festival’s kick-off party (February 26) and concluding awards ceremony/party (March 3),
both of which take place at other venues, visit: www.cinekink.com.

ANTHOLOGY MEMBERS
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31

32
ADACHI, MASAO, Feb 26, p. 20
AGE IS…, Mar 16, 21, 24, p. 8
AHWESH, PEGGY, Jan 31-Feb 1, p. 23
AKRAN, Feb 9, 18, p. 13
ALIBI, Mar 25, 29, p. 22
ALL THE SHIPS AT SEA, Feb 28, Mar 2, 8, p. 7
BABY THE RAIN MUST FALL, Mar 23, 26, 31, p. 21
BACHELOR FLAT, Mar 24, 30, p. 21
BACK AND FORTH (), Mar 14, p. 3
BEFORE THE REVOLUTION, Feb 8, p. 13
BEHINDERT, Mar 16, 19, 23, p. 8
BERTOLUCCI, BERNARDO, Feb 8, p. 13
BRITTAIN, DONALD, Mar 9, 11, p. 18
BROOKS, ALBERT, Feb 14-17, p. 24
BROTHERS RICO, THE, Mar 22, 25, 31, p. 21
BURCKHARDT, RUDY, Jan 16, p. 12
CARRIAGE TRADE, Mar 24, p. 3
CENTRAL BAZAAR, Mar 17, 23, p. 8
CHRISTMAS ON EARTH, Jan 9, p. 22
CINEKINK: NYC, Feb 26-Mar 3, p. 30
CLAIR, RENÉ, Feb 6, 9-10, p. 13
CLIMATE OF NEW YORK, THE, Jan 16, p. 12
CONNER, BRUCE, Feb 2-3, p. 7
CONTINUING STORY OF CAREL AND FERD,
THE, Mar 10, p. 18
COSMIC RAY, Feb 2-3, p. 7
COSTARD, HELLMUTH, Mar 10, 14, p. 18
CRONENBERG, DAVID, Mar 5, p. 25
CRONIN, PAUL, Mar 7, p. 14
CROSSROADS, Feb 2-3, p. 7
DARK WATERS, Feb 22-23, p. 20
DE TOTH, ANDRÉ, Feb 22-23, p. 20
DONEN, STANLEY, Feb 22, 24, p. 20
DUMONT, BRUNO, Jan 18-27, p. 4
DUTCH WIFE IN THE DESERT, Feb 20, p. 19
DWAN, ALLAN, Feb 23-24, p. 21
DWOSKIN, STEPHEN, Mar 15-24, p. 8
DYN AMO, Mar 16, 20, p. 8
EARLY WORKS, Mar 7, 10, 13, p. 14
ELEVENTH YEAR, THE, Mar 31, p. 4
EMITAÏ, Feb 7, 18, p. 13
EMPEROR TOMATO KETCHUP, Mar 9, 11, 14, p. 18
ENTHUSIASM, Mar 28, p. 4
ENTR’ACTE, Feb 6, 9-10, p. 13
ESSENTIAL CINEMA, Jan 12, 19, 20, Feb 2, 3, 16, 17, 23,
Mar 9, 10, 14, 24, 25, 28, 30, 31, p. 2-4
FELVER, CHRISTOPHER, Mar 9-10, p. 25
FERLINGHETTI: A REBIRTH OF WONDER,
Mar 9-10, p. 25
FILM AS A SUBVERSIVE ART, Feb 6-10, 18-19,
Mar 7-14, p. 12-18
FLAMING CREATURES, Mar 10, p. 3
FLOWER THIEF, THE, Feb 16, p. 3
FLOWERS OF ST. FRANCIS, THE, Feb 2-3, p. 2
FOREMAN, RICHARD, Feb 8-14, p. 5
FORWARD, SOVIET!, Mar 25, p. 4
FRANK, ROBERT, Mar 9-10, p. 25
FRUCHTER, NORMAN, Feb 10, 19, p. 14
FURY AT SHOWDOWN, Mar 23, 27, 31, p. 21
GARNETT, TAY, Feb 23-24, p. 21
GAUDI, ANTONIO, Jan 16, p. 12
GIBBONS, JOE, Jan 31-Feb 1, p. 23
GINSBERG, ALLEN, Mar 9-10, p. 25
GINSBERG, ARTHUR, Mar 10, p. 18
GOLDBERG, LEIF, Feb 21, p. 10
GOOD-BYE, Feb 22, p. 19
GREAT BLONDINO, THE, Jan 12, p. 2
GRIFFIN, GEORGE, Jan 24, p. 9
JANUARY–MARCH 2013 INDEX
GUSHING PRAYER, Feb 26, p. 20
HARD DAY’S NIGHT, A, Mar 8, 12, p. 14
HEAVEN AND EARTH MAGIC, Feb 17, p. 3
HOLY MATRIMONY, Mar 24, 29, p. 21
HONEYMOON, Feb 28, Mar 8, p. 7
HORS SATAN, Jan 18-27, p. 4
KANAI, KATSU, Feb 22, p. 19
KARLSON, PHIL, Mar 22, 25, 31, p. 21
KATO, YOSHIHIRO, Feb 23, p. 19
KERNOCHAN, SARAH, Mar 8, 12, p. 14
KINO-EYE, Mar 25, p. 4
KREN, KURT, Mar 9, p. 14
KUCHAR, MIKE, Jan 15, p. 12
L’HERBIER, MARCEL, Feb 9, p. 13
LATE MATTHEW PASCAL, THE, Feb 9, p. 13
LESTER, RICHARD, Mar 8, 12, p. 14
LEWIS, JOSEPH H., Mar 22, 27, 30, p. 21
LIOTTA, JEANNE, Mar 29-30, p. 10
MACHOVER, ROBERT, Feb 10, Feb 19, p. 14
MAKAVEJEV, DUŠAN, Feb 6, 9-10, p. 13
MAN WITH A MOVIE CAMERA, Mar 28, p. 4
MARJOE, Mar 8, 12, p. 14
MASSADIAN, VALERIE, Jan 25-31, p. 4
MEAD, TAYLOR, Jan 11, Feb 16, p. 11
MEKAS, JONAS, Jan 9, Feb 7, 24, p. 22, 24
MEMORANDUM, Mar 9, 11, p. 18
MILLETT, KATE, Feb 8, 19, p. 13
MINAMATA: THE VICTIMS AND THEIR WORLD,
Feb 21, p. 19
MODERN ROMANCE, Feb 14-17, p. 24
MORNING GLORY, Mar 23, 28, p. 21
MOTHER, Jan 19, p. 2
MUEHL, OTTO, Mar 9, p. 14
MULLIGAN, ROBERT, Mar 23, p. 21
MY MARS BAR MOVIE, Feb 7, 24, p. 24
MY NAME IS JULIA ROSS, Mar 22, 27, 30, p. 21
MYERS, RICHARD, Feb 9, 18, p. 13
NAGANO, CHIAKI, Feb 24, p. 19
NANA, Jan 25-31, p. 4
NELSON, ROBERT, Jan 12, p. 2
NEW YORK WOMEN IN FILM AND TELEVISION,
Jan 29, Feb 26, Mar 26, p. 23
NEWFILMMAKERS, Jan 2-9, 16, 23, 30, Feb 6, 13, 20, 27,
Mar 6, 13, 20, 27, p. 26-30
NO MORE FLEEING, Feb 7, 10, p. 13
OBLIVION, Mar 18, 22, p. 9
OGAWA, SHINSUKE, Feb 23, p. 19
OKABE, MICHIO, Feb 24, p. 20
ONCE EVERY DAY, Feb 8-14, p. 5
OPPRESSION OF WOMEN...THEMSELVES, THE,
Mar 10, 14, p. 18
OSWALD, GERD, Mar 23, 27, 31, p. 21
OUTSIDE IN, Mar 17, 21, 24, p. 9
OZU, YASUJIRO, Feb 2-3, p. 2
PERFUMED NIGHTMARE, Jan 12, p. 11
PIALAT, MAURICE, Feb 14-17, p. 24
PICABIA, FRANCIS, Feb 6, 9-10, p. 13
POLLET, JEAN-DANIEL, Mar 9, 13, p. 18
POLLY PERVERSE STRIKES AGAIN!, Mar 3, p. 7
PORTRAIT OF MR. O, THE, Feb 24, p. 19
PREHISTORY OF THE PARTISANS, Feb 20, p. 19
PUDOVKIN, VSEVOLOD I., Jan 19, p. 2
QUEEN OF SHEBA MEETS THE ATOM MAN, THE,
Feb 16, p. 3
RENOIR, JEAN, Feb 2-3, p. 2
RICE, RON, Jan 20, Feb 16, p. 2, 3
RICHIE, DONALD, Feb 24, p. 19
RICHTER, HANS, Jan 20, p. 2
RIEFENSTAHL, LENI, Feb 23, p. 3
RIVER’S EDGE, THE, Feb 23-24, p. 21
ROSSELLINI, ROBERTO, Feb 2-3, p. 2
RUBIN, BARBARA, Jan 9, p. 22
RULES OF THE GAME, THE, Feb 2-3, p. 2
SALLITT, DAN, Feb 28-Mar 8, p. 5, 7
SANG, LE, Mar 9, 13, p. 18
SANRIZUKA: HETA VILLAGE, Feb 23, p. 19
SARRIS, ANDREW, Feb 22-24, Mar 22-31, p. 20-22
SCREEN LOUD FILM FESTIVAL, Mar 15, p. 25
SECRET LIFE OF…AFA, THE, Mar 31, p. 26
SEMBENE, OUSMANE, Feb 7, 18, p. 13
SHARITS, PAUL, Jan 20, Mar 9, p. 2, 3
SHERMAN, LOWELL, Mar 23, 28, p. 21
SHERMAN, STUART, Jan 18-20, p. 6
SHOW & TELL, Jan 24, Feb 21, Mar 29-30, p. 9-10
SIXTH OF THE WORLD, A, Mar 30, p. 4
SMITH, HARRY, Feb 17, p. 3
SMITH, HOWARD, Mar 8, 12, p. 14
SMITH, JACK, Mar 10, p. 3
SNOW, MICHAEL, Mar 14, p. 3
SONBERT, WARREN, Mar 24, p. 3
SPIELER, THE, Feb 23-24, p. 21
SPOTTON, JOHN, Mar 9, 11, p. 18
STAHL, JOHN M., Mar 24, 29, p. 21
STEREO, Mar 5, p. 25
S:TREAM:S:S:ECTION:S:S:ECTIONED, Mar 9, p. 3
SUN AND THE MOON, THE, Mar 18, 23, p. 9
TAHIMIK, KIDLAT, Jan 12-14, p. 11
TASHLIN, FRANK, Mar 24, 30, p. 21
TERAYAMA, SHÛJI, Feb 25, Mar 9, 11, 14, p. 18, 20
THERE WAS A FATHER, Feb 2-3, p. 2
THIS SONG FOR JACK, Mar 9-10, p. 25
THREE LIVES, Feb 8, 19, p. 13
THREE SONGS ABOUT LENIN, Mar 31, p. 4
TIMES FOR, Mar 15, 19, p. 8
TOURNEUR, JACQUES, Mar 24, 26, 28, 30, p. 22
TRIUMPH OF THE WILL, THE, Feb 23, p. 3
TROUBLEMAKERS, Feb 10, 19, p. 14
TRYING TO KISS THE MOON, Mar 17, 22, p. 9
TSUCHIMOTO, NORIAKI, Feb 20-21, p. 19
TURUMBA, Jan 12, p. 11
TWO FOR THE ROAD, Feb 22, 24, p. 20
UNESSENTIAL CINEMA, Mar 21, p. 25
UNSPEAKABLE ACT, THE, Mar 1-7, p. 5
VERTOV, DZIGA, Mar 25, 28, 30-31, p. 4
VESELY, HERBERT, Feb 7, 10, p. 13
VIDEOZONES, Jan 10, p. 22
VIOLATED ANGELS, Mar 9, 11, 14, p. 18
VOGEL, AMOS, Feb 6-10, 18-19, Mar 7-14, p. 12-18
W.R.: MYSTERIES OF THE ORGANISM, Feb 6, 9-10,
p. 13
WAKAMATSU, KÔJI, Mar 9, 11, 14, p. 18
WARHOL, ANDY, Jan 11, p. 11
WAVELENGTH, Mar 14, p. 3
WE WON’T GROW OLD TOGETHER, Feb 14-17, p. 24
WEST, ROWLAND, Mar 25, 29, p. 22
WHITE HARE OF INABA, THE, Feb 23, p. 19
WHITEHEAD, PETER, Mar 9-10, p. 25
WHO INVENTED THE YOYO? WHO INVENTED
THE MOON BUGGY?, Jan 13, p. 11
WHOLLY COMMUNION, Mar 9-10, p. 25
WHY IS YELLOW THE MIDDLE OF THE
RAINBOW? (I AM FURIOUS… YELLOW),
Jan 13, p. 11
WICHITA, Mar 24, 26, 28, 30, p. 22
YAMATOYA, ATSUSHI, Feb 20, p. 19
ZILNIK, ZELIMIR, Mar 7, 10, 13, p. 14

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