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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.
Page 1 and 2: Anthology Film Archives Film Progra
Page 3 and 4: 2 ESSENTIAL CINEMA CHUMLUM THE GREA
Page 5 and 6: 4 MAN WITH A MOVIE CAMERA / THE FIL
Page 7: ROCK/STRING 6 AFA PRESERVATIONS SPE
Page 11 and 12: IMAGINARY FRIEND SHOW & TELL, CONT
Page 13 and 14: MIDNIGHT CARNIVAL SANDY REDUX, CONT
Page 15 and 16: LEFT AND REVOLUTIONARY CINEMA: THE
Page 17 and 18: SUNDAY MONDAY TUESDAY WEDNESDAY THU
Page 19 and 20: 18 EMPEROR TOMATO KETCHUP A TRIBUTE
Page 21 and 22: SACRIFICE / GISEI 60s-70s JAPAN, CO
Page 23 and 24: WICHITA 22 SARRIS, CONT’D Jacques
Page 25 and 26: 24 MY MARS BAR MOVIE ENCORE SCREENI
Page 27 and 28: 26 SPECIAL SCREENINGS / NEWFILMMAKE
Page 29 and 30: FEATURE PRESENTATION Eugene Ioannou
Page 31 and 32: 30 ANTHOLOGY’S TWO THEATERS ARE A
Page 33 and 34: 32 ADACHI, MASAO, Feb 26, p. 20 AGE
Page 35: ANTHOLOGY New York, NY 10003 F I L

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