quarterly pdf - Anthology Film Archives

ANTHOLOGY FILM ARCHIVES
APRIL – JUNE 2013

Anthology Film Archives Film Program, Volume 43 No. 2, April–June 2013
Anthology Film Archives Film Program is published quarterly by Anthology Film Archives, 32 Second Avenue, NY, NY 10003
Subscription is free with Membership to Anthology Film Archives, or $15/year for non-members.
Cover artwork by Harmony Korine, 2012, all rights reserved.
Staff
Jonas Mekas, Artistic Director
John Mhiripiri, Director
Jed Rapfogel, Film Programmer, Theater Manager
Wendy Dorsett, Director of Publications
Ava Tews, Administrative Assistant, Membership
Kevin Duggan, Interim Director of Development
Marcine Miller, Publicity Coordinator
René Smith, Special Events Coordinator
Collections Staff
Robert A. Haller, Library
Andrew Lampert, Curator of Collections
John Klacsmann, Archivist
Erik Piil, Digital Archivist
Theater Staff
Tim Keane, Print Traffic Coordinator & Head Manager
Bradley Eros, Theater Manager
Rachelle Rahme, Theater Manager
Christopher Nazzaro, Assistant Manager
Phillip Gerson, Assistant Manager
Projectionists
Ted Fendt, Marina Gagarina, Sarah Halpern, Genevieve
Havemeyer-King, Daren Ho, Jose Ramos, Moira Tierney,
Tim White, Jacob Wiener.
Box Office
Josh Anderson, Cait Carvalho, Rachael Guma,Marcine Miller
New Filmmakers Coordinators
Barney Oldfield, Executive Producer
Bill Woods, Program Director
Board of Directors
Jonas Mekas, President
Oona Mekas, Treasurer
John Mhiripiri, Secretary
Barney Oldfield, Chair
Matthew Press
Arturas Zuokas
Honorary Board
agnès b., Brigitte Cornand, Robert Gardner,
Annette Michelson. In memoriam: Louise Bourgeois
(1911-2010), Nam June Paik (1932-2006).
Board of Advisors
Richard Barone, Deborah Bell, Rachel Chodorov, Ben
Foster, Roselee Goldberg, Timothy Greenfield-Sanders,
Ali Hossaini, Akiko Iimura, Susan McGuirk, Sebastian
Mekas, Sara L. Meyerson, Benn Northover, Izhar
Patkin, Ted Perry, Ikkan Sanada, Lola Schnabel, Stella
Schnabel, Ingrid Scheib-Rothbart, P. Adams Sitney,
Hedda Szmulewicz, Marvin Soloway.
Composer in Residence
John Zorn
Researchers & Interns: Jennifer Anna, Claire Bellmont, Jeremie Brugidou, Gina Carducci, Lili Chin, Matthew Cowan, Emily Davis,
Brian Dooda, Kenneth Eisenstein, Steve Erickson, Marina Gagarina, Timothy Geraghty, Micah Gottlieb, Athena Holbrook, Chris Jolly,
Bora Kim, Martina Kudláček, Jeanne Liotta, Maddi Lopez de Arkaute, Jonas Lozoraitis, Shannon McLachlan, Joel Minkin, Sean Nam,
Sadaf Nava, John Passmore, Timmy Shin, Melinda Shopsin, Grace Sloan, Evan Spitzer, Dan Sullivan, Peter Sutton, Fiona Szende,
Auguste Varkalis.
Anthology Film Archives is a 501(c)(3) non-profit organization, and is partially funded by the Agnès B. Endowment Fund, the
Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, Lucasfilm Foundation, the National Endowment for the Arts,
the National Film Preservation Foundation, public funds from the New York City Department of Cultural Affairs, in partnership with
the City Council, the New York State Council on the Arts; and by the Andrea Frank Foundation, an anonymous donor through
the Jewish Communal Fund, the Austrian Cultural Forum New York, Chace Productions, Cineric, Cinetech, Consulate General
of Spain, Criterion, the Cultural Services Office of the French Embassy, the DeVos Institute of Arts Management at the Kennedy
Center, Eastman Kodak Company, Edison Properties, The Film Foundation, Forbes Foundation, Foundation for Contemporary Arts,
Goethe-Institut New York, Greene Naftali, Image Entertainment, Jerome Foundation, The Mike Kelley Foundation for the Arts, Krell
Family Foundation, The David M. Leuschen Foundation, The Jonas Mekas Center for the Visual Arts, the National Endowment for the
Humanities, NBC News Archives, the New York City Council, the New York State Council on the Arts’ Electronic Media and Film Media
Arts Technical Assistance Fund administered by free103point9, the NYSCA EMF Presentation Funds grant program administered
by The ARTS Council of the Southern Finger Lakes, New York Women in Film & Television, the Peter Norton Family Foundation,
Paramount Pictures, Polis Schutz Family Foundation, Robert Gore Rifkind Foundation, Rogosin Heritage, Showtime & Sundance
Networks, Sonic Youth, Sony Pictures Entertainment, Studio7Arts, the Taipei Economic and Cultural Office in NY, Taylor & Taylor
Associates, Technicolor, Twentieth Century Fox, Universal Pictures, and by individual members and contributors.

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 Lil Leffy by
Harmony Korine, © 2013, all rights reserved.
ANTHOLOGY FILM ARCHIVES
APRIL–JUNE 2013
ESSENTIAL CINEMA
PREMIERES
OUT-TAKES FROM THE LIFE OF A HAPPY MAN
FRAGMENTS OF KUBELKA
THREE SISTERS
STUDENT
KUICHISAN
RETROSPECTIVES
Stom Sogo
Delmer Daves
Ken Jacobs
Shinsuke Ogawa
SERIES-ONGOING
Show & Tell
New York Women in Film & Television
SERIES
The Middle Ages on Film
CALENDAR AT–A–GLANCE
SERIES, cont’d
Old School Kung Fu Fest
Auto-Cinema
SPECIAL SCREENINGS
Taylor Mead: Michel Auder’s CLEOPATRA
South of the Border with Nick Zedd
Gordon Matta-Clark
Cinebeasts: Subway Films
FLAMING CREATURES: 50th Anniversary
Ideas City 2013
BERLIN, SYMPHONY OF A CITY
Single Frame
Catalysts: Peggy Ahwesh & Keith Sanborn
Abigail Child
Unessential Cinema
AFA Members Only: British Short Films
Naked Eye Cinema
The Secret Life of…AFA
NEWFILMMAKERS
FESTIVALS
INDEX
2
4
5
6
7
8
9
11
12
13
15-17
19
20
21
22
23
24
25
26
27
29
30

ZERO FOR CONDUCT
2
ESSENTIAL CINEMA
RABBIT’S MOON
QUICK BILLY
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!
VALENTIN / VIGO PROGRAM
Karl Valentin
CONFIRMATION DAY / DER FIRMLING
1934, 23 min, 35mm, b&w. In German with no subtitles;
English synopsis available.
A father and son, celebrating the son’s
confirmation, go to a fancy restaurant and
drink all day. They want to order Emmentaler
cheese, but can only find Affentaler wine on
the menu. How did the Affentaler, which they
think is cheese, get into the bottle? They keep
on drinking away, attracting attention and
causing more and more confusion.
“Valentin plays a drunken father treating his
giggly young son to lunch, and the inspired
muddle he creates out of a table, two chairs,
an umbrella, and a watch chain rivals some of
Laurel and Hardy’s best moments.”
–J.R. Jones, CHICAGO READER
&
Jean Vigo
ZERO FOR CONDUCT / ZÉRO DE CONDUITE
1935, 44 min, 35mm, b&w. In French with no subtitles;
English synopsis available.
An eloquent parable of freedom versus
authority, Vigo’s film is set at a boys’ boarding
school and undoubtedly echoes Vigo’s own
unhappy experiences as a child. Under the
pressure of various civic groups the film was
removed from screens several months after
its release in 1933. It was branded “anti-
French” by censors and was not shown again
in Paris until 1945.
Total running time: ca. 70 min.
–Sun, April 7 at 3:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
WARHOL / WHITNEY PROGRAM
Andy Warhol
EAT 1963, 35 min, 35mm, b&w, silent
John and James Whitney
FILM EXERCISES 1-5 1943-45, 18 min, 16mm
James Whitney
LAPIS 1963-66, 10 min, 16mm, silent
Total running time: ca. 65 min.
–Sun, April 21 at 3:30.
Andy Warhol
MY HUSTLER
1965, 67 min, 16mm, b&w
MY HUSTLER is one of the classics of gay cinema.
It is the story of a sexual triangle in which Ed
Hood competes with his Fire Island neighbors, Joe
Campbell and Genevieve Charbin, for the attentions
of Paul America, whom he has rented for the
weekend from “Dial-a-Hustler”. The realism of the
scenario is due largely to the absence of a script
and performances by actors essentially playing
themselves.
–Sun, April 21 at 5:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
KENNETH ANGER
FIREWORKS 1947, 20 min, 35mm, b&w
RABBIT’S MOON 1950-70, 15 min, 35mm
EAUX D’ARTIFICE 1953, 13 min, 16mm
KUSTOM KAR KOMMANDOS 1965, 3 min, 16mm
SCORPIO RISING 1963, 30 min, 35mm
Poetry, psychodrama, and the occult meet in
these timeless works by one of the pioneers of the
American avant-garde film.
Total running time: ca. 85 min.
–Sat, April 27 at 3:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
BAILLIE / CROCKWELL PROGRAM
Bruce Baillie
MASS FOR THE DAKOTA SIOUX
1963-64, 20 min, 16mm, b&w
QUIXOTE 1964-65, 45 min, 16mm
CASTRO STREET 1966, 10 min, 16mm
ALL MY LIFE 1966, 3 min, 16mm
VALENTIN DE LAS SIERRAS 1968, 10 min, 16mm
Meditations on America by a filmmaker whom
Willard van Dyke once called the most American of
all contemporary filmmakers. Annette Michelson
has referred to Bruce Baillie as one of the few
American political filmmakers.
Douglass Crockwell
GLENS FALLS SEQUENCE 1964, 8 min, 16mm
“The basic idea was to paint continuing pictures
on various layers with plastic paint, adding at times
and removing at times, and to a certain extent
these early attempts were successful.” –D.C.
Total running time: ca. 100 min.
–Sun, April 28 at 4:15.
Bruce Baillie
QUICK BILLY
1971, 57 min, 16mm
Bruce Baillie’s journey through “the dark wood encountered in the
middle of life’s journey” (Dante), with references to Bardo Thodol. A
major work from one of the great poets of cinema.
–Sun, April 28 at 6:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PETER KUBELKA
MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN
1955, 16 min, 35mm, b&w/color
ADEBAR 1957, 1 min, 35mm, b&w
SCHWECHATER 1958, 1 min, 35mm, b&w/color
ARNULF RAINER 1960, 7 min, 35mm, b&w
OUR TRIP TO AFRICA / UNSERE AFRIKAREISE 1966, 12 min, 16mm
PAUSE 1977, 12 min, 16mm
POETRY AND TRUTH / DICHTUNG UND WAHRHEIT
2003, 13 min, 35mm
“Peter Kubelka is the perfectionist of the film medium; and, as I
honor that quality above all others at this time finding such a lack
of it now elsewhere, I would simply like to say: Peter Kubelka is
the world’s greatest filmmaker – which is to say, simply: see his
films!…by all means/above all else…etcetera.” –Stan Brakhage
Total running time: ca. 65 min.
–Sat, May 4 at 5:15 and Sun, May 5 at 5:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
STAN BRAKHAGE
Unless otherwise noted, all films are silent.
DESISTFILM 1954, 7 min, 16mm, b&w, sound
REFLECTIONS ON BLACK
1955, 12 min, 16mm, b&w, sound
THE WONDER RING 1955, 4 min, 16mm
FLESH OF MORNING 1956, 25 min, 16mm, b&w
DAYBREAK AND WHITEYE 1957, 8 min, 16mm
WINDOW WATER BABY MOVING
1959, 12 min, 16mm
Films made during the early, “psychodramatic” period of one of
modern cinema’s greatest innovators, including two of his early
experiments with sound.
Total running time: ca. 75 min.
–Sat, May 18 at 3:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
STAN BRAKHAGE
Unless otherwise noted, all films are silent.
ANTICIPATION OF THE NIGHT
1958, 40 min, 16mm
CAT’S CRADLE 1959, 6 min, 16mm
SIRIUS REMEMBERED 1959, 12 min, 16mm

THE DEAD 1960, 11 min, 16mm
MOTHLIGHT 1963, 4 min, 16mm
BLUE MOSES 1963, 11 min, 16mm, b&w, sound
With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama and
enters the “closed-eye vision” period. This program also contains a
unique example of a film made without a camera, MOTHLIGHT, and
one of Brakhage’s few sound (and ‘acted’) films, BLUE MOSES.
Total running time: ca. 90 min.
–Sun, May 19 at 4:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Stan Brakhage
DOG STAR MAN
1961-64, 74 min, 16mm, silent
A masterwork in which all of Brakhage’s techniques achieve a
complex synthesis to produce one of cinema’s supreme epic poems.
“The film breathes and is an organic and surging thing…it is a
colossal lyrical adventure-dance of image in every variation of color.”
–Michael McClure, ARTFORUM
–Sun, May 19 at 6:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Stan Brakhage
SONGS 1-14
1964-65, ca. 53 min, 16mm, silent
“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement
in remembering. SONG 4: Three girls playing with a ball. Hand painted.
SONG 5: A childbirth song. SONG 6: The painted veil via moth-death.
SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding
source and substance. SONG 10: Sitting around. SONG 11: Fires,
windows, an insect, a lyre of rain scratches. SONG 12: Verticals and
shadows caught in glass traps. SONG 13: A travel song of scenes and
horizontals. SONG 14: Molds, paints and crystals.” –S.B.
–Sun, May 19 at 8:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
STAN BRAKHAGE
Unless otherwise noted, all films are silent.
LOVING 1956, 4 min, 16mm
PASHT 1965, 5 min, 16mm
FIRE OF WATERS 1965, 10 min, 16mm, b&w, sound
THE HORSEMAN, THE WOMAN AND THE MOTH
1968, 19 min, 16mm
THE WEIR-FALCON SAGA 1970, 29 min, 16mm
SEXUAL MEDITATION #1: MOTEL 1970, 7 min, 16mm
SEXUAL MEDITATION: ROOM WITH A VIEW
1971, 4 min, 16mm, b&w
THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm
A selection from some of Brakhage’s most densely mysterious works.
Total running time: ca. 95 min.
–Sat, May 25 at 3:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Stan Brakhage
THE TEXT OF LIGHT
1974, 67 min, 16mm, silent
Brakhage’s tour-de-force exploration of refracted light in an ashtray.
“All that is, is light.” –Dun Scotus Erigena
–Sat, May 25 at 5:00.
ESSENTIAL CINEMA
THE DEAD Brakhage shoots THE PITTSBURGH TRILOGY
Stan Brakhage
THE PITTSBURGH TRILOGY
EYES
1970, 36 min, 16mm, silent
“After wishing for years to be given-the-opportunity
of filming some of the more ‘mystical’ occupations
of our Times – some of the more obscure Public
Figures which the average imagination turns into
‘bogeymen’... viz.: Policemen, Doctors, Soldiers,
Politicians, etc.: – I was at last permitted to ride in
a Pittsburgh police car, camera in hand, the final
several days of September 1970.” –S.B.
DEUS EX
1971, 34 min, 16mm, silent
“I have been many times very ill in hospitals; and
I drew on all that experience while making DEUS
EX in West Penn. Hospital of Pittsburgh; but I was
especially inspired by the memory of one incident
in an emergency room of San Francisco’s Mission
District: while waiting for medical help, I had held
myself together by reading an April-May 1965
issue of ‘Poetry Magazine’: and the following lines
from Charles Olson’s ‘Cole’s Island’ had especially
centered the experience, ‘touchstone’ of DEUS EX,
for me: Charles begins the poem with the statement
‘I met Death –’ And then: ‘He didn’t bother me, or
say anything. Which is / not surprising, a person
might not, in the circumstances; / or at most a nod
or something. Or they would. But they wouldn’t, / or
you wouldn’t think to either, / it was Death. And / He
certainly was, the moment I saw him.’” –S.B.
THE ACT OF SEEING WITH ONE’S OWN EYES
1971, 32 min, 16mm, silent
“Brakhage, entering, with his camera, one of the
forbidden, terrific locations of our culture, the
autopsy room. It is a place wherein, inversely, life
is cherished, for it exists to affirm that no one of
us may die without our knowing exactly why. All of
us, in the person of the coroner, must see that, for
ourselves, with our own eyes.” –Hollis Frampton
Total running time: ca. 105 min.
–Sun, May 26 at 3:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JAMES BROUGHTON, PROGRAM 1
FOUR IN THE AFTERNOON 1951, 15 min, 16mm, b&w
THE PLEASURE GARDEN 1953, 38 min, 35mm, b&w
THE BED 1968, 19 min, 16mm
HIGH KUKUS 1974, 3 min, 16mm
Three films by an American avant-garde film
pioneer. His films are celebrations of the joy of living.
If there is such a thing as American Zen, Broughton
is the master of it.
Total running time: ca. 80 min.
–Sat, June 29 at 3:15.
EYEWASH
JAMES BROUGHTON, PROGRAM 2
THE GOLDEN POSITIONS 1970, 32 min, 16mm
DREAMWOOD 1972, 45 min, 16mm
TESTAMENT 1974, 20 min, 16mm
Total running time: ca. 100 min.
–Sat, June 29 at 5:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ROBERT BREER, PROGRAM 1
With the exception of BREATHING, all of the films in this
program were preserved by Anthology with generous
support from the Andy Warhol Foundation for the Visual
Arts and the National Endowment for the Arts.
FORM PHASES I 1952, 2 min, 16mm
FORM PHASES II 1953, 2 min, 16mm
UN MIRACLE
1954, 30 secs, 35mm, made with Pontus Hulten.
RECREATION 1956, 1.5 min, 35mm
A MAN AND HIS DOG OUT FOR AIR 1957, 2 min,
35mm
JAMESTOWN BALOOS 1957, 6 min, 35mm
LE MOUVEMENT 1957, 14 min, 35mm
EYEWASH 1959, 3 min, 35mm
EYEWASH (ALTERNATIVE VERSION)
1959, 3 min, 35mm
BLAZES 1961, 3 min, 35mm
PAT’S BIRTHDAY 1962, 13 min, 16mm, b&w
BREATHING 1963, 5 min, 16mm, b&w
66 1966, 5.5 min, 35mm
69 1969, 4.5 min, 35mm
The happy, joyful, playful abstractionist of the
avant-garde.
Total running time: ca. 70 min.
–Sat, June 29 at 7:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
ROBERT BREER, PROGRAM 2
With the exception of GULLS AND BUOYS, all of the films in
this program were preserved by Anthology with generous
support from the Andy Warhol Foundation for the Visual
Arts and the National Endowment for the Arts.
70 1970, 5 min, 35mm
77 1970, 6.5 min, 35mm
FIST FIGHT 1964, 9 min, 35mm
GULLS AND BUOYS 1972, 8 min, 16mm
FUJI 1974, 9 min, 35mm
SWISS ARMY KNIFE WITH RAT AND PIGEON
1981, 6.5 min, 35mm
BANG 1986, 10 min, 35mm
Total running time: ca. 60 min.
–Sat, June 29 at 9:00.
3

ESSENTIAL CINEMA,
CONT’D
JOSEPH CORNELL, PROGRAM 1
Unless otherwise noted, all films are silent.
ROSE HOBART 1939, 20 min, 16mm, sound
COTILLION 1940s-1969, 8 min, 16mm, b&w
THE MIDNIGHT PARTY
1940s-1968, 3.5 min, 16mm, b&w
THE CHILDREN’S PARTY
1940s-1968, 8 min, 16mm
CENTURIES OF JUNE 1955, 10 min, 16mm
AVIARY 1955, 11 min, 16mm, b&w
GNIR REDNOW 1955, 5 min, 16mm, photographed
by Stan Brakhage
NYMPHLIGHT 1957, 8 min, 16mm
A LEGEND FOR FOUNTAINS
1957/65, 17 min, 16mm, b&w
ANGEL 1957, 3 min, 16mm
The poet of magic realities. Pioneer of recycled
(found) images. ROSE HOBART and the Trilogy
(COTILLION, MIDNIGHT PARTY & CHILDREN’S
PARTY) are some of the earliest collage films
created. The others were directed by Cornell
(and photographed by Stan Brakhage and
Rudy Burckhardt, among others) at some of his
favorite locations.
Total running time: ca. 105 min.
–Sun, June 30 at 3:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JOSEPH CORNELL, PROGRAM 2
All films are silent.
BOYS’ GAMES 1957, 5 min, 16mm
BOOKSTALLS ca. late-1930s, 11 min, 16mm
BY NIGHT WITH TORCH AND SPEAR
ca. 1940s, 9 min, 16mm
NEW YORK–ROME–BARCELONA–
BRUSSELS ca. 1940s, 10 min, 16mm
VAUDEVILLE DE-LUXE ca. 1940s, 12 min, 16mm
MULBERRY STREET ca. 1957, 9 min, 16mm,
b&w, made with Rudy Burckhardt
JOANNE, UNION SQUARE 1955, 8 min, 16mm,
made with Rudy Burckhardt
CLOCHES À TRAVERS LES FEUILLES
ca. 1957, 4 min, 16mm
CHILDREN ca. 1957, 8 min, 16mm
Rare Cornell; more magic cinema from the
master collagist. Variations of films made by
Cornell, plus collage films discovered by archivists
after his death.
Total running time: ca. 85 min.
–Sun, June 30 at 6:00.
4
ESSENTIAL CINEMA / PREMIERES
ROSE HOBART OUT-TAKES FROM THE LIFE OF A HAPPY MAN
NEW YORK THEATRICAL PREMIERE
RUN!
Jonas Mekas
OUT-TAKES FROM
THE LIFE OF A
HAPPY MAN
2012, 68 min, video
“A motion picture composed of brief diaristic
scenes not used in completed films from the
years 1960-2000; and self-referential video
footage taped during the editing. Brief glimpses
of family, friends, girl-friends, the City, seasons
of the year, travels. Occasionally I talk, reminisce,
or play music I taped during those earlier
years, plus more recent piano improvisations
by Auguste Varkalis. It’s a kind of autobiographical,
diaristic poem, celebration of happiness
and life. I consider myself a happy man.” –J.M.
“In a film of amazing delicacy and poetic
insight, Mekas celebrates the beauty of imperfect
images…” –Amy Taubin
“OUT-TAKES starts with Mekas alone at night
while the city sleeps, editing his old films. As
he looks back over his life he starts to talk,
insisting that his life’s work amounts to ‘just
images, some fragments of this world’ that he
will bring together for himself and a few friends.
But as images of the people who brought joy
into his life pass by, we realize that most of
them are no longer alive. Mekas sees them
again, but he is seeing them alone. As much as
it is about his happy life, the film is also about
emptiness, loss, and a longing for some sort of
spiritual consolation. At one moment the cover
of St John of the Cross’s MEDITATIONS appears
on screen. This is Mekas’s long dark night of
the soul.” – Richard Dorment, THE TELEGRAPH
–Thurs, April 25 through
Thurs, May 2 at 8:00 nightly.
FRAGMENTS OF KUBELKA
U.S. THEATRICAL PREMIERE RUN!
FILMMAKER AND PETER KUBELKA IN PERSON!
Martina Kudláček
FRAGMENTS OF KUBELKA
2012, 233 min, digital video. Presented with the support of the Austrian Cultural Forum
New York; special thanks to Andreas Stadler & Hannah Liko.
Having previously created fascinating documentary portraits of seminal
avant-garde figures Maya Deren and Marie Menken, Martina Kudláček
has turned her sights on Peter Kubelka, the legendary Austrian filmmaker,
theorist, lecturer, and cook, not to mention AFA co-founder. The
result is her most ambitious film yet, an expansive yet focused 4-hour
immersion in Kubelka’s work, theories, personality, and sensibility.
While Kubelka’s radical and pioneering body of films is a highly condensed
work of little more than an hour, his lectures are legendary for their extended
length. In Kudláček’s film these drawn-out presentations on ‘what is cinema’
and ‘cooking as an art form’ are frequently illuminated by archaeological objects
from Kubelka’s eclectic collection. He considers his ongoing collecting to be an
expanded film practice that explores the evolution of humanity.
Delving deeply into the numerous, incredibly varied, and yet gracefully integrated
facets of Kubelka’s life, FRAGMENTS OF KUBELKA is both a vibrant portrait of a
unique and legendary figure and a penetrating inquiry into his views on cinema,
art, and experience.
“Martina’s film on Kubelka is the best film on any artist that I’ve ever seen. The
trick she used was so simple and so difficult: she kept herself out of it. What she
gave us is pure Kubelka.” –Jonas Mekas
BOTH MARTINA KUDLÁčEK AND PETER KUBELKA
WILL BE HERE IN PERSON!
–Fri, May 3 through Thurs, May 9 at 7:00 nightly.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Alongside the theatrical premiere run of FRAGMENTS OF KUBELKA we will be
presenting, on both Saturday and Sunday afternoon, an expanded version of our
annual ‘Essential Cinema’ Kubelka program. Free for AFA members!
ESSENTIAL CINEMA: PETER KUBELKA
MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN
1955, 16 min, 35mm, b&w/color
ADEBAR 1957, 1 min, 35mm, b&w
SCHWECHATER 1958, 1 min, 35mm, b&w/color
ARNULF RAINER 1960, 7 min, 35mm, b&w
OUR TRIP TO AFRICA / UNSERE AFRIKAREISE 1966, 12 min, 16mm
PAUSE 1977, 12 min, 16mm
POETRY AND TRUTH / DICHTUNG UND WAHRHEIT 2003, 13 min, 35mm
“Peter Kubelka is the perfectionist of the film medium; and, as I honor that
quality above all others at this time finding such a lack of it now elsewhere,
I would simply like to say: Peter Kubelka is the world’s greatest filmmaker –
which is to say, simply: see his films!…by all means/above all else…etcetera.”
–Stan Brakhage
Total running time: ca. 65 min.
–Sat, May 4 at 5:15 and Sun, May 5 at 5:00.

THREE SISTERS STUDENT
NEW YORK THEATRICAL PREMIERE RUN!
Wang Bing
THREE SISTERS /
SAN ZI MEI
2012, 153 min, digital video. In Mandarin with English subtitles.
Special thanks to Isabelle Glachant (Chinese Shadows).
One of the most important documentary filmmakers
of his generation, and perhaps the preeminent chronicler
of contemporary China, Wang Bing returns to the
non-fiction realm – following his first fiction feature,
THE DITCH (2010) – with THREE SISTERS, a patient,
penetrating, and heartbreaking portrait of three young
girls living and laboring with their family in a small
mountain village in southwest China. As he so clearly
demonstrated in his towering, 9-hour WEST OF THE
TRACKS (2003), Wang is a master of long-form documentary
filmmaking, and here he portrays the lives of
his three protagonists, as well as the community and
the landscapes around them, with an extraordinary
sensitivity, openness, and clarity of vision.
“Wang’s concern with those who do not fit in with the
image of neo-capitalist super-modernity imposed by
the country’s elites is at the heart of his remarkable
new documentary, THREE SISTERS. Filmed in a remote
mountain village in Yunnan, China – where roughly
eighty families raise livestock and cultivate potatoes at
an altitude of 3,200 meters – Wang’s beautifully realized
film follows the lives of one such family, capturing
their day-to-day existence with startling intimacy. […]
With modest confidence and masterly control, Wang
constructs his filmic chronicle on the rhythms of daily
life and imbues his images with an almost painterly
aesthetic, from the muted colors of the stunning
mountain landscapes to the striking backlit compositions
within the family’s humble homestead. A triumph
of observational filmmaking, THREE SISTERS opens
a window onto an unfamiliar world, and renders the
quotidian strangely magical.”
–Giovanna Fulvi, TORONTO INTERNATIONAL FILM
FESTIVAL
–Fri, May 10 through Thurs, May 16 at
7:30 nightly. Additional screenings on
Fri & Sat at 4:30.
PREMIERES
NEW YORK THEATRICAL PREMIERE RUN!
Darezhan Omirbayev
STUDENT
2012, 90 min, 35mm. In Kazakh and Russian with English
subtitles.
STUDENT is co-presented by the Global Film Initiative and is part
of the Global Lens 2013 film series. For more information, visit
www.globalfilm.org.
Omirbayev, one of the greatest of the remarkable
wave of filmmakers who emerged from Central Asia in
the 1980s and 90s, made his mark with a series of
masterful, minimalist, highly trenchant films including
KAIRAT (1992), KILLER (1998), and THE ROAD (2001),
all deeply perceptive portraits of Kazakh society. More
recently he has gravitated towards (free) adaptations of
Russian literary classics – his last feature, SHUGA, was
based on Tolstoy’s ANNA KARENINA, and his newest,
STUDENT, represents his version of Dostoyevsky’s
CRIME AND PUNISHMENT.
Transposing the story to Kazakhstan’s capital, Almaty,
a world of brutal, unrestrained economic competition
and corruption, STUDENT demonstrates Omirbayev’s
sensitivity to the moral and emotional toll taken by
21st-century capitalism, a phenomenon he’s wellplaced
to comment on, given the profound transformations
that the free-market economy has wreaked
on the societies of the formerly Soviet countries of
Central Asia. Ali, the protagonist of STUDENT, inhabits
a world in which social Darwinism seems to be the
law of the land, and his actions follow from the idea
that, “If competition is the principle of life, then logically
we come to the conclusion that it’s alright to kill
your competitor.” Filmed in Omirbayev’s customarily
deadpan, uninflected style, STUDENT is a powerful
piece of work, artfully fitting Dostoyevsky’s timehonored
narrative to the grim realities of present-day
Kazakhstan.
“You cannot look away from Darezhan Omirbaev’s
STUDENT, as you can’t look away from any of the
Kazakh director’s films, for each and every shot is
quietly but powerfully charged. It always seems a
minute charge until a simple shot’s condensation of
narrative expression and emotional nuance sneaks up
on you.” – Daniel Kasman, MUBI
–Fri, May 31 through Thurs, June 6 at
7:00 & 9:00 nightly. Additional screenings
on Sat & Sun at 5:00.
KUICHISAN
NEW YORK THEATRICAL PREMIERE RUN!
Maiko Endo
KUICHISAN
2011, 76 min, 35mm, b&w/color. With Raizo Ishihara and
Eléonore Hendricks. Cinematography by Sean Price Williams.
Special thanks to Maiko Endo and Miriam Bale.
Set in the forgotten, cross-cultured town of Koza, in
Okinawa, Japan, this film follows both an ill-at-ease
American wanderer (Hendricks) and a 10-year-old
Japanese boy (Ishihara) who looks like a monk and
drifts amidst his own beliefs. As the boy searches for
an outlet for his spirituality, he encounters the magical
force of Nature and the history behind the creation of a
place that is neither quite American nor Japanese. The
boy, who seems to live on the outskirts of an already
outsider society, likes to get a cola float and watch the
American soldiers eat at the taco stand. People around
the town prepare for summertime festivals, welcoming
ancestors and ghosts. A gang of abandoned children,
barefoot and homeless, wreaks havoc amid the ruins
of the once prosperous city. As reality seems to melt
and drift, the boy sips his cola float and waits for the
end of the world.
“The discovery of the year. KUICHISAN is more like
finding an old suitcase full of photos than watching a
usual film, and the almost dialogue-free story grows
out of the luminous 16mm footage of the place where
it was filmed. […] A uniquely talented filmmaker has
made her entry into the festival scene with a film
that satisfies both old and entirely new ideals for its
medium, and which must above all be seen in the
cinema.” –CPH:DOX
“This auspicious debut glides through several genres
before settling into something wholly original and true
to its own design. […] Caught between the traditions
of the East and the detritus of the West, the boy’s alienation
unleashes a series of haunting, enigmatic visions,
whose primal power is expressed through images
saturated in the incandescence of Gustave Moreau.”
–Michael Chaiken, FILM COMMENT
–Fri, June 21 through Thurs, June 27
at 7:15 & 9:00 nightly. Additional
screenings on Sat & Sun at 5:30.
5

6
GUIDED BY VOICES
PROGRAM 1:
GUIDED BY VOICES 2000, 10.5 min, video
SILVER PLAY 2002, 16 min, video
SONG FOR TV 2002, 4 min, video
A PERFECT THREE 1997, 4 min, 16mm
CARRIE AT STILL 1998, 27 min, Super-8mm
Total running time: ca. 70 min.
RETROSPECTIVES
PERIODICAL EFFECT
SWEET FIRST, SEIZURE SECOND: A TRIBUTE TO STOM SOGO
April 5-7
A dynamo whose thunderous potential was cut short by his premature death, Japanese moving-image artist Stom Sogo (1975-2012) remains a romantic rebel if ever there
was one. For over two decades he created a hair-raising body of aggressively beautiful films and videos. His distinctive, psychically charged work revels in optic and aural jolts
just as much as it attempts a sincere connection with the viewer. While he mastered numerous approaches, his primary technique involved heavy amounts of re-photography,
a process that allowed him to fashion multiple electrified layers of strobing imagery. Other pieces demonstrate his uncanny editing prowess in their startling juxtaposition of
home movies with materials taken from an expansive array of unlikely sources.
Sogo was a standout in MoMA’s landmark 8mm BIG AS LIFE survey, the 2002 Whitney Biennial, multiple editions of the New York Underground Film Festival and many other
exhibitions. Born and raised in Osaka, he came to the U.S. for high school and eventually landed in NYC where he started working at Anthology. Truly a catalyst in every sense
of the word, Sogo’s inexhaustible energy and inspiration helped kick open the doors of this staid institution to a younger generation of artists and fellow travelers. He moved to
San Francisco in the early 2000s before returning to Brooklyn, and eventually Japan where he remained until his death in July 2012.
A prolific creator and a devoted experimentalist, Sogo often began with Super-8 or mini-DV and constantly renewed his works with hybrid electronic remixes. With each step
the material achieved a higher level of intensity, sometimes to the point of self-destruction. As overtly poetic and autobiographical as they are often fiercely abstract, Sogo’s
works do not shy away from exploring visual and sonic extremes. From his speedy and spectacular early diaries to his painstakingly rendered late digital manipulations, this
posthumous survey features a wide selection of works from his extensive personal archive which now resides at Anthology. The programs remain open to the inclusion of
additional titles as new discoveries are still being made in the many boxes and hard drives that Sogo left behind for us to uncover.
“[A] movie’s reality should be as nasty and fucked up as possible, so we want to get fuck out of the theater and hope for something better in life…. I try not to have a message
or even word in my movie. But I usually have some sick stories behind each of the movies. Those are just mental eye candy that it taste sweet first, seizure second.” –Stom Sogo
Special thanks to Yukiko and Ai Sogo, Kari and Luke Watanabe, Tomonari Nishikawka, Moira Tierney, Raha Raissnia, and Tanya Small.
–Fri, April 5 at 7:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– –––––––––––––– –––––––––––––– –––––––––––––– –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
––
PROGRAM 2:
YA PRIVATE SKY 2001, 3.5 min, video
SLOW DEATH 2000, 15.5 min, Super-8mm
PS WHEN YOU THOUGHT YOU ARE GOING TO DIE 2003, 18 min, video
TAKE THESE TABLETS 2004, 16 min, video
IMITATION OF SOUTH 2003, 14 min, Super-8mm
Total running time: ca. 75 min.
–Fri, April 5 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– –––––––––––––– –––––––––––––– ––––––––––––––––––––– ––– –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 3:
I HAVEN’T DONE ANYTHING YET
This program contains a healthy sampling from Sogo’s massive 9-reel, nearly 300 minute cycle of Super-8
diary films, which he titled I HAVEN’T DONE ANYTHING YET. Dated 1995 but likely spanning a few years,
this series contains footage shot while still a student at SVA, images captured on the streets, and at home
featuring friends and strangers in the flow of life. Sogo rarely screened his intricately detailed, exquisitely
photographed diaries in public, but when he did they left a lasting impression on all those who saw them.
Dizzying in their breakneck speed, these works demonstrate Sogo’s incredible eye and preternatural ability
to compose in-camera.
Total running time: ca. 80 min.
–Sat, April 6 at 6:00.
PROGRAM 4:
PERIODICAL EFFECT 2001, 9.5 min, video
SPACE CAT 1999, 20 min, Super-8mm
PROBLEM IS YOU 2002, 27 min, Super-8mm
JERK 2007, 24 min, video
Total running time: ca. 85 min.
–Sat, April 6 at 8:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 5:
MONKEY 2 1996, 20 min, Super-8mm
REPEAT 2006, 9.5 min, video
C FOR CIAS 2008, 11 min, video
TRI 2004, 9 min, video
I SMELL YOU 2000, 10 min, Super-8mm
And other works…
Total running time: ca. 75 min.
–Sun, April 7 at 5:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 6:
PASSPORT REVIEW 2004, 21 min, video
SYNC-UP ELEMENT 2007, 23 min, video
LOUISE GILMORE AND FUTURE 2008, 13 min,
video
And other works…
Total running time: ca. 75 min.
–Sun, April 7 at 7:30.

BROKEN ARROW
PRIDE OF THE MARINES
1945, 120 min, 35mm. With John Garfield.
Belying its generic war-effort title, Daves’s superior
1945 feature stars Garfield as a brash Philly welder
who enlists with the Marines only to get blinded in
the Pacific. With semi-documentary detail and a
feel for day-to-day dramas and crushing challenges
alike, PRIDE follows Al Schmid as he’s fixed up with
a woman (Eleanor Parker), then ships out to the jungle
gun nests of Guadalcanal, surviving yet reluctant to
leave the hospital. Daves and Garfield sensitively
portray Schmid’s bonds with his tough-willed girl,
wisecracking buddies, and, touchingly, a Red Cross
letter-writer. Featuring typically eloquent visuals –
from the claustrophobic night battle to the pinpricks
of Garfield’s eyes in darkness at the hospital – and
an Academy Award-nominated screenplay by Albert
Maltz, later a blacklistee like Garfield.
–Fri, May 10 at 6:45, Sun, May 12 at
5:00, and Tues, May 14 at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE RED HOUSE
1947, 100 min, 35mm. Preserved by the Library of Congress.
With Edward G. Robinson.
Anticipating Daves’s Freudian Westerns of the 50s,
THE RED HOUSE displays the filmmaker’s ability to
express a variety of (mostly troubling) interior states
through landscape. Patriarch farmer Pete Morgan
(Robinson) maintains the status quo with his daughter
and spinster sister, until a hired hand starts challenging
the various taboos that Pete has set into place.
A sort-of rural noir, the film combines noir’s smothering
foreboding – and Robinson’s anguished gargoyle mask
– with fresh outdoor photography and a keen sense
of life as lived in remote places, where everything is
measured in terms of daylight and distance. Once
seen, its air of sexual unease, fell wind blowing through
trees, and secrets hiding in bright, open spaces is not
easily forgotten.
–Fri, May 10 at 9:15 and Mon, May 13
at 7:00.
RETROSPECTIVES
THE LAST WAGON
OVERDUE: DELMER DAVES
May 10-16
In May the peripatetic film series OVERDUE, programmed by critics Nick Pinkerton and Nicolas Rapold, comes to Anthology for a weekend devoted to rare gems from the
neglected Delmer Daves, one of the finest Hollywood filmmakers of the 40s & 50s.
In olden times, back when people gave a hoot, video stores would set aside certain movies on an altar to refined, idiosyncratic expertise called ‘Employee Picks’. In that spirit,
Pinkerton and Rapold present their very own secret history of cinema – genre gems, misunderstood art, music movies – leading with torches of knowledge into the catacombs
of culture.
Special thanks to Christopher Lane & Michael Horne (Sony), Caitlin Robertson & Joe Reid (20th Century Fox), Lynanne Schweighofer & Rob Stone (Library of Congress), and Marilee Womack (WB).
BROKEN ARROW
1950, 93 min, 35mm. Archival print courtesy of 20th Century
Fox. With James Stewart & Jeff Chandler.
“I learned things that day… Apache mothers cried
about their sons, Apache men had a sense of fair
play….” A landmark Western due to its sympathetic
portrayal of the Native American, BROKEN ARROW is
even more remarkable for never overcompensating
by ennobling the Other into an inhuman abstraction.
Thanks to Daves’s mastery, this is one of the rare
‘issue’ movies that backs up its vaunted, important
content with exquisite, evocative form, a film
composed of quiet sylvan interludes and massed,
surging movement. Against vistas of a Technicolor
Arizona, James Stewart’s ex-prospector Tom Jeffords
tries to parlay peace with Jeff Chandler’s Apache chief
Cochise, working together against both a renegade
Geronimo and white Indian-haters, the “terrible cruelty
from both sides” never sugar-coated.
–Sat, May 11 at 5:00 and Tues, May 14
at 7:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
COWBOY
1958, 92 min, 35mm. With Glenn Ford & Jack Lemmon.
Following JUBAL and 3:10 TO YUMA, Daves and Glenn
Ford re-teamed for this shrewd story of cattleman and
clerk that’s both slice-of-life tale from the trail and
psychological dialectic. Betting losses lead old hand
Tom Reece (Ford) to take on Chicago hotel tenderfoot
Frank Harris (Lemmon), who’s sweet on a Mexican girl,
for his latest drive down south. Instead of simplistic
culture clash, Daves’s treatment only deepens as the
journey proceeds, with a clear-eyed feel for rough,
even deadly play on the trail and an often stunning
pictorial sense. The screenplay by Edmund H. North
and blacklistee Dalton Trumbo takes flight from the
memoir of Frank Harris. Titles by Saul Bass.
––Sat, May 11 at 7:00, Mon, May 13
at 9:15, and Thurs, May 16 at 9:15.
THE LAST WAGON
1956, 98 min, 35mm. Archival print courtesy of 20th Century
Fox. With Richard Widmark.
Another study in race-hate the Old Western way,
this worthy follow-up to BROKEN ARROW has Daves
returning to Arizona’s Martian valleys and mesas, this
time filming in overwhelming, hallucinatory Cinema-
Scope. George Mathews’s swinish Sheriff Bull Harper is
bringing Richard Widmark’s ‘Comanche’ Todd to justice
for the murder of the other three Harper brothers. But
when the wagon train of settlers that they’re traveling
with is attacked by Apaches, the despised Todd, who
has lived most of his life with the Indians, becomes the
last line of defense for the few surviving youths of the
party, leading them through the “Canyon of Death” in a
wagon made from the remaining wreckage.
–Sat, May 11 at 9:15 and Thurs, May 16
at 7:00.
7

8
THE WHIRLED
PROGRAM 1:
ORCHARD STREET 1955, 12 min, 16mm-to-35mm blow-up. Preserved by The Museum of
Modern Art with support from the Celeste Bartos Fund for Film Preservation.
ARTIE AND MARTY ROSENBLATT’S BABY PICTURES 1963, 4 min, 8mm, sound
on tape
AIRSHAFT 1967, 4 min, 16mm
JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE
1975, 15 min, 8mm-to-16mm blow-up
THE WINTER FOOTAGE 1964, 50 min, 8mm-to-16mm blow-up
Total running time: ca. 90 min.
–Fri, May 24 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2:
THE WHIRLED
1956-63 (compiled in early 1990s), 19 min, 16mm. Preserved by Anthology Film Archives.
BAUD’LARIAN CAPERS (A MUSICAL WITH NAZIS AND JEWS)
1963, 25 min, 16mm
BOB FLEISCHNER DYING 2009, 3 min, digital video
HOT DOGS AT THE MET 2009, 10 min, digital video
LISA AND JOEY IN CONNECTICUT, JANUARY ’65:
“YOU’VE COME BACK!” “YOU’RE STILL HERE!”
1965, 18 min, 8mm-to-16mm
Total running time: ca. 80 min.
–Fri, May 24 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 3:
THE DOCTOR’S DREAM 1978, 23 min, 16mm
PERFECT FILM 1985, 22 min, 16mm
WHAT HAPPENED ON 23RD STREET IN 1901
2009, 14 min, digital video
THE SURGING SEA OF HUMANITY 2006, 11 min, digital video
Total running time: ca. 75 min.
–Sat, May 25 at 7:00.
RETROSPECTIVES
ANOTHER OCCUPATION
INSISTENT CLAMOR FOREVER: KEN JACOBS TURNS 80!
May 24-26
Given his limitless energy and youthful spirit, it seems impossible that Ken Jacobs is turning 80 this month. Called “one of the most extraordinary unknown personalities in
the history of American movies” by critic J. Hoberman, Jacobs, a native New Yorker, began his artistic career as a painting student of abstract-expressionist Hans Hoffman but
quickly progressed to a more flexible canvas, cinema. His decades worth of restless activity includes more than 40 films, live performances (shadow plays and other staged
productions), countless film performances (often with his self-invented double 16mm projection “Nervous System”), magnificent 3D slide and “Nervous Magic Lantern” shows,
and, since the late 1990s, digital video. It is Jacobs’s total dedication to the multiple possibilities and mutations of the moving image that binds all his seemingly disparate
modes into a brilliantly cohesive whole.
Far from being a complete retrospective, this robust six-program tribute includes films and videos from every decade of Jacobs’s voluminous back catalog. With so many works
to choose from (and with some of Jacobs’s best-known films screening annually at Anthology as part of our Essential Cinema series), we opted for pieces that have either
been long neglected (including works originally made on 8mm in the early-to-mid 1960s) or never more than irregularly screened. Whether radically reworking found imagery,
documenting his friends and family, or constructing works of astute political commentary, Jacobs is a tireless innovator whose sizable influence on several generations of film
and video artists is undeniable.
PROGRAM 4:
GLOBE 1969, 22 min, 16mm, Pulfrich 3D
INSISTENT CLAMOR 2005, 22 min, digital video
BRAIN OPERATIONS 2009, 22 min, digital video
MAKE LIGHT ON FILM 1995, 15 min, 16mm, Pulfrich 3D
Total running time: ca. 85 min.
–Sat, May 25 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 5:
AMERICA AT WAR 2011, 30 min, digital video, anaglyph 3D
ANOTHER OCCUPATION 2011, 15 min, digital video
SEEKING THE MONKEY KING 2011, 40 min, digital video
Total running time: ca. 90 min.
–Sun, May 26 at 6:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 6:
KEATON’S COPS 1991, 23 min, 16mm
HIS FAVORITE WIFE IMPROVED (OR THE VIRTUE OF BAD RECEPTION)
2008, 2 min, digital video
WE ARE CHARMING 2007, 1 min, digital video
HANKY PANKY JANUARY 1902 2007, 1 min, digital video
NYMPH 2007, 2 min, digital video
ALONE AT LAST 2008, 2 min, digital video
THE DISCOVERY 2008, 5 min, digital video
LOVE STORY 2008, 3 min, digital video
DISORIENT EXPRESS 1996, 30 min, 35mm
Total running time: 75 min.
–Sun, May 26 at 8:30.

RETROSPECTIVES
Shinsuke Ogawa REPORT FROM HANEDA
THE FILMS OF SHINSUKE OGAWA
June 7-18
Long overdue, this comprehensive retrospective devoted to the work of a giant of documentary cinema, Shinsuke Ogawa (1936-92), will bring more than a dozen of his films to North
America for the first time in many years. While his films did circulate internationally when they were first released, Ogawa has been unaccountably neglected in the Western world in
the decades since. With this series we hope to re-focus attention on his extraordinary, incisive, and deeply committed body of work.
Fearlessly devoted to radical politics and to collective production, Ogawa began his career making films about the student movement, before turning his cameras on the increasingly
violent conflict between the authorities and farmers who were being threatened with eviction to make way for the construction of the proposed Narita International Airport. Rejecting
the notion that a documentary filmmaker must remain a detached observer of the events he or she records, Ogawa and his collaborators (who together formed Ogawa Productions, or
‘Ogawa Pro’) threw themselves into the (protracted) struggle, producing seven films over the course of almost a decade.
After the waning of the Sanrizuka protests, Ogawa and his colleagues soon came to devote themselves to an equally ambitious project, relocating to Yamagata Prefecture and beginning
a series of films focusing on the rural village of Magino. Living and working with the farmers they filmed, the collective created an astonishing, unique portrait of a culture and a way
of life that are rarely depicted. Remarkable both for his unforgettable films and for his radical approach to documentary cinema, Ogawa has been hugely influential within Japan and
Asia, and deserves to be far more widely known in the U.S.
Presented with invaluable support from The Japan Foundation.
Organized in collaboration with Go Hirasawa (Meiji-Gakuin University) and Markus Nornes (University of Michigan), author of the book FOREST OF PRESSURE: OGAWA SHINSUKE AND POSTWAR JAPANESE
DOCUMENTARY. Presented with the invaluable assistance of the Athénée Français Cultural Center, Tokyo, the Yamagata International Documentary Film Festival, and Icarus Films (NY).
Very special thanks to Kanako Shirasaki, Yukihiro Ohira, and Grant Tompkins (Japan Foundation); Yuichiro Izumi (Athénée Français); Masaharu Oki, Kazuyuki Yano, Asako Fujioka & Haruka Hama (Yamagata); Jonathan
Miller, Livia Bloom & Colin Beckett (Icarus Films); and Frederick Veith.
All descriptions written by Markus Nornes. Unless otherwise noted, all films are in Japanese with English subtitles.
SEA OF YOUTH – FOUR CORRESPONDENCE
COURSE STUDENTS
1966, 56 min, 16mm
Ogawa’s first directorial effort. After leaving Iwanami Productions
along with most of his cohort he struck an unusual path.
He gathered young activists together to make an independent
documentary on the plight of correspondence students. The film
features the group itself as they plot their activism. Many of the
onscreen personalities would become core members of Ogawa
Productions. The film met only mild success in fundraising, so
they completed it by selling off books and blood.
–Fri, June 7 at 7:15 and Thurs, June 13 at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
FOREST OF OPPRESSION – A RECORD
OF THE STRUGGLE AT TAKASAKI CITY
UNIVERSITY OF ECONOMICS
1967, 105 min, 16mm-to-digital video
After SEA OF YOUTH, the film team turned itself into a full-fledged
collective: the Independent Screening Organization, or Jieso for
short. The precursor to Ogawa Productions, Jieso networked
social movements and film fans from across Japan to create
an alternative distribution route. Their next film, FOREST OF
OPPRESSION, turns to the phenomenon of students barricading
themselves inside schools to various political ends. They chose
Takasaki City University of Economics, and audiences were
shocked by the vigor and violence of this protest in such a minor
university. The film put Ogawa on the map.
–Fri, June 7 at 8:45 and Thurs, June 13 at 7:00.
REPORT FROM HANEDA
1967, 58 min, 16mm. Projected English subtitles.
After the explosive success of FOREST OF OPPRESSION,
Jieso organized their next film with a couple labor unions
and political activists/filmmakers. Bristling with scenes of
clashing protesters and riot police, Ogawa (who appears
onscreen) carefully investigates the death of a young
protester. The film’s analytical look at the effects of a baton
strike on the human brain foreshadow a filmmaking strategy
that would be key to their later work.
–Sat, June 8 at 3:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE BATTLE FRONT FOR THE LIBERATION
OF JAPAN – SUMMER IN SANRIZUKA
1968, 108 min, 16mm
In 1968, Ogawa decided to form Ogawa Productions and
locate it at the newly announced construction site of Narita
International Airport in a district called Sanrizuka. Ogawa
chose to locate his company in the most radical of the
villages, Heta. Some farmers immediately sold their land;
others vehemently protested and drew the support of social
movements across the country. Together they clashed with
riot police sent in to protect surveyors, who were plotting
out the airport. SUMMER AT SANRIZUKA is a messy film, but
its chaos communicates the passions and actions on the
ground.
–Sat, June 8 at 4:45 and
Fri, June 14 at 9:00.
SANRIZUKA – THE THREE DAY
WAR
1970, 50 min, 16mm
After SUMMER IN SANRIZUKA, Ogawa Pro
attempted a more epic scale with WINTER
IN SANRIZUKA. It was roundly criticized as a
failure. In the wake of this criticism, as well as
visits by Joris Ivens and Black Panthers Elbert
Howard and Roberta Alexander, the collective
became increasingly militant. They decided
to make a report from the front, calling it a
“bullet film” (dangan eiga). This is a quick
and dirty agit-prop film shot over the course
of three days, when 2,500 protestors battled
6,500 police. Even school had been let out so
students could participate in the action.
–Sat, June 8 at 7:15 and
Sat, June 15 at 2:15.
–continues on next page–
9

SANRIZUKA – PEASANTS OF THE SECOND FORTRESS SANRIZUKA – HETA VILLAGE
SHINSUKE OGAWA,
CONT’D
SANRIZUKA – PEASANTS OF THE
SECOND FORTRESS
1971, 143 min, 16mm
Ogawa’s first international success, as prints were
swapped with collectives in America and Europe.
The violence had escalated in Sanrizuka and farmers
turned to a new tactic: they built large fortresses, and
burrowed underground – under their ground. Ogawa
follows the course of the protests, as police invade
one after the other. Between the action scenes Ogawa
pauses to chat with farmers, both above and below
ground. One palpably senses the strong relationship
the collective had nurtured with the farmers, and
the deep respect with which Ogawa approached his
subjects.
–Sat, June 8 at 8:30 and
Sat, June 15 at 5:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
SANRIZUKA – HETA VILLAGE
1973, 146 min, 16mm
An extraordinary documentary about time and place,
the first of two masterpieces by Ogawa Productions.
As their relationships with farmers deepened, the
violence of the police escalated. People were being
killed and arbitrarily imprisoned. However, Ogawa
pushed this to the far background to concentrate
on the village of Heta itself – its history, its customs
and its people – as one of its youth commits suicide
and others are detained by police. The film is quiet,
patient, and its 11 scenes are mostly rendered in
single takes. This astonishing film is their attempt to
render the “time of the village.”
–Sun, June 9 at 1:15 and
Sat, June 15 at 8:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
SANRIZUKA – THE SKIES OF MAY,
THE ROAD TO THE VILLAGE
1977, 81 min, 16mm
In the mid-1970s, the protests were waning across
Japan after the Red Army scandal of Asama Cottage.
In Sanrizuka, people were weary of the violence and
the airport was well under construction. As for Ogawa
Productions, they invited criticism by pulling out and
moving to a quiet village in northern Japan. But when
protesters back in Sanrizuka erected a tall tower at
the end of one runway, they sent a crew to document
what happened. This became the final film of the
Sanrizuka Series.
10
–Sun, June 9 at 4:15.
RETROSPECTIVES
A SONG OF THE BOTTOM /
DOKKOI! SONGS FROM THE BOTTOM
1975, 121 min, 16mm
As the protests at Sanrizuka transformed, Ogawa began
looking for other subjects. He eventually moved to Yamagata,
but considered other subjects like this one: the brutal Kotobukicho
district of Yokohama. Only 250 meters on a side, it
was home to 6,000 people living in 90 run-down flophouses.
This was where day laborers live and die on the streets.
Following the method they developed in Sanrizuka, Ogawa’s
crew lived with the workers, tenderly filming the trials of
their daily lives. It is a touching and heartrending film.
–Sun, June 9 at 6:15 and
Sun, June 16 at 6:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
THE MAGINO VILLAGE STORY – RAISING
SILKWORMS
1977, 112 min, 16mm
In Yamagata, Ogawa started a new series: the ‘Magino
Village Story’. Once again the collective lived with its
subjects, this time in a small silkworm barn borrowed
from a farmer-poet. They converted it into a home and film
studio, where anywhere from 10 to 25 men, women, and
children lived and worked. After moving, Ogawa immediately
went into a mental slump and seemed depressed.
His wife spearheaded this film, partly hoping to revitalize
the director. A look at the local raising of silkworms, this
charming film deploys many of the filmmaking strategies
key to their next films.
–Sun, June 9 at 8:45 and
Mon, June 17 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
“NIPPON”: FURUYASHIKI VILLAGE
1982, 210 min, 16mm
By the early 1980s, Ogawa Productions was well into a
massive film about rice and village history, when an unusual
cold front caused serious crop damage in a village deep in
the mountains behind Magino. Furuyashiki was a prototypical
mountain village, with thatched roofs and deep, deep
snow. Ogawa plays with the conventions of the science
documentary to examine the crop damage problem, while
penetrating deep into the history of the village. In this tiny
mountain hamlet, he finds the entire history of Japan – from
ancient sea creatures through the catastrophe of WWII to
the quiet violence of the economic miracle. As one old man
says, “We thought the paved road would bring modernity;
instead, it made it easier for the young people to leave.”
–Mon, June 10 at 7:00 and
Tues, June 18 at 7:00.
RED PERSIMMONS
MAGINO VILLAGE – A TALE /
THE SUNDIAL CARVED WITH A THOUSAND
YEARS OF NOTCHES
1986, 222 min, 16mm
Ogawa Productions’ other masterpiece, this brings together
all the themes Ogawa explored in his oeuvre: farming, state
violence, resistance, modernization, and village time. The film
masterfully combines the conventions of the science film with
Griersonian documentary sequences about ghosts and gods,
along with fictional sequences featuring cameos by the likes
of butoh founder Tatsumi Hijikata (his last performance) and
Roman Porno star Junko Miyashita. It is a thoughtful meditation
on history and the way it is never quite ‘past’ in village
Japan. If Ogawa’s first films and the Sanrizuka Series arc
from the self-centered concerns of the student movement
to a collective effort at understanding the communal way of
life of the village, then the ‘Magino Village Story’ displays a
similar arcing movement away from the collective toward the
powerful individual expression of Ogawa.
–Tues, June 11 at 7:00 and
Sun, June 16 at 1:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Toshio Iizuka
A MOVIE CAPITAL
1991, 93 min, 16mm
In the late 1980s, Ogawa helped the Yamagata City government
establish the Yamagata International Documentary Film
Festival. A MOVIE CAPITAL was directed by Ogawa’s assistant
director, Toshio Iizuka, and documents the first outing of the
festival in 1989. It includes interviews with competition filmmakers
like Jon Jost, but highlights the festival’s Asia Symposium.
Ogawa was sick during the production of this film, and
died shortly after its premiere at the youthful age of 55.
–Wed, June 12 at 7:00 and
Mon, June 17 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Shinsuke Ogawa & Peng Xiao-lian
RED PERSIMMONS
2001, 90 min, 16mm-to-video
RED PERSIMMONS was actually a major segment cut from
SUNDIAL. The filmmakers left this rough cut on a shelf,
and always wanted to return to it. As Ogawa all but lost his
collective in the late 1980s, he turned his attention to Asian
documentary filmmakers and appeared to be creating a
virtual collective across the region. Many directors from the
Philippines, Korea, Taiwan, and China were deeply influenced
by their encounters with Ogawa. One of these was Peng Xiaolian,
a feature filmmaker from the PRC. Long after Ogawa’s
death, Peng pulled the segment off the shelf and gave it a
new life in a virtual collaboration with Ogawa.
–Wed, June 12 at 9:00 and
Fri, June 14 at 7:00.

Jun’ichiro Oshige
A VISIT TO OGAWA
PRODUCTIONS
1981/99, 61 min, 16mm-to-video
This is a straightforward record of
Nagisa Oshima’s trip to Yamagata.
The collective was in the middle of
shooting FURUYASHIKI and Oshima
interviewed the filmmakers in the rice
paddies. The film ends with a conversation
between Oshima and Ogawa,
where Oshima asks questions that
only he could ask.
–Sat, June 15 at 3:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Barbara Hammer
DEVOTION: A FILM ABOUT
OGAWA PRODUCTIONS
2000, 82 min, video. In English and Japanese
with English subtitles.
Barbara Hammer encountered Ogawa’s
widow, Yoko Shiraishi, when
one of her films showed at the
Yamagata International Documentary
Film Festival. She was intrigued by
this strange collective, and set out to
make a film about them. Her wonderfully
idiosyncratic documentary often
uses random images from the films to
stand for the collective’s members, as
if they were home movies. DEVOTION
is a striking meditation on political
passion and the gender dynamics in
artist/activist collectives.
–Sun, June 16 at 8:30.
RETROSPECTIVES / ONGOING SERIES
DEVOTION: A FILM ABOUT OGAWA PRODUCTIONS SPIN/VERSO/CONTOUR
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 Swiss artist and filmmaker Hannes Schüpbach, video artist Shelly Silver, and Seoungho Cho, who was
raised in South Korea and is now based in Queens, NY.
APRIL:
HANNES SCHÜPBACH
SPIN/VERSO/CONTOUR
In April, we welcome back Swiss artist and
filmmaker Hannes Schüpbach, who last
made an appearance at Anthology in 2001.
For this program, Schüpbach will present
a recently-completed trilogy entitled SPIN/
VERSO/CONTOUR. Comprised of three lovely
and crystalline silent 16mm films, the trilogy
emphasizes the corporeal act of vision and
revision, conjuring a dreamlike state that plays
on the viewer’s memory by means of repetition
and subtle rhythmical shifts.
Schüpbach has completed nine films since
1999, but he was incorporating cinematographic
elements into his installations and
serial paintings prior to that. His work was the
subject of the exhibition ‘Stills and Movies’ at
Kunsthalle Basel in 2009, which highlighted
the conceptual interconnections between his
installations, performances, and films, all of
which involve movement and unfold through
memory.
“Just like the delicate constructions that form
his paintings, [Schüpbach’s] film images are
transformed into a graceful experiment in
vision – one that wavers between the material
and the immaterial.” –Andréa Picard, CINEMA
SCOPE
The presence of the artist has been made
possible by a grant from SWISS FILMS, The Arts
Council of Switzerland.
The screening will be followed by a conversation
between Schüpbach and Vincent Katz
(poet; editor of VANITAS).
SPIN/VERSO/CONTOUR
2011, 41 min, 16mm, silent
–Thurs, April 11 at 7:30.
We
MAY:
SHELLY SILVER: small lies, Big Truths
Overachieving trickster Shelly Silver hacks genres and invades safety zones
with equal parts pleasure, desire, aggression, and precision. We will be
presenting a selection of her work spanning 1987-2013.
“To watch the moving-image art of Shelly Silver is to understand that,
among other messy civic values on which democracies rely – free access
to public space, for instance, and a willingness to transgress comfort zones
– democracy relies on empathy. And empathy relies on fantasy, and fantasy
is always partial, entwined with misperception, unpredictable, perverse.
‘Being-for-others’, in Silver’s feminist sense, amounts less to the alienating
instrumentalization of the individual by a masterful observer, and more to
the feeling that civic space is a matrix of hallways, doorways, rooms and
streets, glimpses and confrontations, in which to see is to acknowledge and
co-create, because everyone is looking all the time.” –Frances Richard
PROGRAM 1
getting in. 1989, 3 min, digital video
We 1990, 4 min, digital video
small lies, Big Truth 1999, 18 min, digital video. With Bill Raymond, Joan Jonas,
Kathy High, Ken Kobland, and others.
Things I Forget to Tell Myself 1989, 2 min, digital video
5 lessons & 9 questions about Chinatown 2009, 10 min, digital video
1 2001, 3 min, digital video
What I’m Looking For 2004, 15 min, digital video
The Houses that are Left (trailer) 1989, 8 min, digital video
And a few surprises…
Total running time: ca. 70 min.
–Fri, May 17 at 7:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––– ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
PROGRAM 2
The Houses that are Left
1991, 52 min, digital video
A story of mortality, friendship, revenge, murder, and the supernatural, as two
friends come together to try to figure out how to live, while being besieged
by malignant messages from the dead. Truth and fiction are blurred as the
dead communicate with the living and real people are interviewed by fictional
characters.
&
Meet the People
1986, 15 min, digital video
–Sat, May 18 at 6:00.
11

SHOW & TELL, CONT’D
PROGRAM 3
FORMER EAST/FORMER WEST
1994, 62 min, digital video
Made up of hundreds of street interviews done in Berlin two years
after the Reunification, this is a vital, surprisingly open, and at times
disturbing documentary about what it meant to be German at that
particular moment in history.
–Sat, May 18 at 8:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JUNE:
SEOUNGHO CHO
“Lyrical and visually striking, the video works of Korean artist
Seoungho Cho are distinguished by a unique confluence of complex
image processing and sound collage. Resonating with a highly
metaphorical sensibility, Cho’s single-channel tapes and installations
are formalist, almost painterly explorations of subjectivity and
the subconscious. The urban landscapes that Cho often depicts
move with a continuous fluidity, shifting from dreamlike abstractions
of light to fleeting reflections of the city. […] These often tense
meditations focus on the nature and cost of isolation and loneliness
while integrating into a culture, landscape and language other than
one’s own.” –ELECTRONIC ARTS INTERMIX
All works made and presented on digital video.
1/1 2001, 4 min, b&w/color
orange factory 2002, 11.5 min
UNTITLED 2004, 12.5 min
SHOW YOUR TONGUE 2005, 5.5 min
BUOY 2008, 7 min
BUTTERFLY 2008, 11 min
SHIFTED HORIZON 2009, 6 min
BLUE DESERT 2011, 12 min
STONED 2012, 11.5 min
Total running time: ca. 85 min.
–Thurs, June 27 at 7:30.
12
ONGOING SERIES
1/1 SHADOWS FROM MY PAST
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.
APRIL:
Gita & Curt Kaufman
SHADOWS FROM MY PAST
2010, 85 min, video
A documentary filmed in Austria, Germany, France, and the U.S. It deals with the mixed emotions of an
American Jewish woman, Gita Kaufman, returning to her birthplace, Vienna, where she had to flee as a child
in February 1940. Searching for the missing parts to her own past, she also explores ideas of individual as
opposed to collective guilt, and questions to what degree today’s generation is responsible for the sins of
their fathers and grandfathers.
–Tues, April 23 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
MAY:
Laurie Layton Schapira
THE PROPHECY OF THE SEERESS
2011, 40 min, video
On the brink of Iceland’s financial meltdown, a CEO in Reykjavik visits a tarot card reader in a desperate
attempt to avert his fate. Suddenly the two are transported to another time and place. In a parallel world
Odin, the father of the Viking gods, has sought out a Wise Woman to hear her knowledge of the past, present,
and future. He wants to know if there is anything he can do to avoid the predicted destruction of the world.
&
Amy Guggenheim THE SNAKE AND THE PARROT 2012, 19 min, video
–Tues, May 28 at 7:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
JUNE:
Kim Cummings
IN MONTAUK
2012, 68 min, video
Julie Wagner has everything today’s young woman thinks she wants. When a prickly but brilliant composermusician
knocks on her door with an odd request, Julie ushers in a series of events that will bring her in
contact with her buried hopes and fears, and force her to make choices she couldn’t have fathomed.
&
THAT’S WHAT SHE TOLD ME 2011, 17 min, video
Struggling NYC artist Carly North is having an existential crisis when she accidentally summons the ghost of
Johnny Cash, who propels her on a mind-bending road trip through the wilds of upstate NY to find the father
she has never met…
–Tues, June 25 at 7:00.

SERIES
SALADIN THE TRIAL OF JOAN OF ARC
THE MIDDLE AGES ON FILM
April 11-27 & May 22-June 9
This spring, in collaboration with medieval scholar Martha Driver, Anthology presents Parts 1 & 2 of a multi-part series focusing on films that depict the Middle Ages. A chronologically
and geographically diverse selection, this survey demonstrates the rich history of the cinema’s encounters with this fascinating era, one that has inflamed the imaginations of a wide
variety of filmmakers, who have been inspired to create some of their most extraordinary films. The plethora of worthy medieval-themed works has meant that we’ve split the series into
multiple parts – this calendar we’ll be devoting one section (April) to films that portray historical figures or events, and another to movies adapting medieval myths or works of literature
(May). And stay tuned for more this fall, including a focus on King Arthur and the Knights of the Roundtable!
“To characterize the fluid content of medieval texts, the critic Paul Zumthor used the term ‘mouvance’. The team means, alive, ‘moving’, unfixed. Zumthor described medieval literature
as a ‘sequence of productions.’ Like retellings of stories of the Crusades or of Joan of Arc or Tristan and Isolt on film, medieval texts are multi-valenced and often open-ended, familiar
tales told and retold in a range of versions across time, in many cultures and in many languages. Like film, medieval literature and art were collaboratively produced, with authors like
Chaucer and Boccaccio drawing on rich sources of folktale and earlier narrative to tell their stories. In 1934, the art historian Erwin Panofsky famously compared the making of movies
to the building of a medieval cathedral, noting that both enterprises were the product of group effort. The films with medieval themes in the first two series presented this spring at
Anthology Film Archives are monuments, too, some of them seldom seen but all well worth a visit.” –Martha W. Driver, Pace University
Curated in collaboration with Martha Driver, Distinguished Professor of English and Women’s and Gender Studies at Pace University, and the co-editor (with Sid Ray) of THE MEDIEVAL HERO ON SCREEN and SHAKE-
SPEARE AND THE MIDDLE AGES (McFarland & Co.).
Special thanks to Sara Driver, Brian Belovarac (Janus Films), Chris Chouinard (Park Circus), Marine Goulois (Les Films du Losange), Florence Hugues (Pierre Grise Productions), Christopher Lane & Michael Horne (Sony),
Mona Nagai & Jon Shibata (Pacific Film Archive), Gary Palmucci (Kino), John Poole, Jr. (Corinth Films), Caitlin Robertson & Joe Reid (20th Century Fox), Jerome Rudes (LVT Laser Subtitling), Delphine Selles-Alvarez &
Laura Pertuy (Cultural Services of the French Embassy), and John Sinno (Arab Film Distribution).
Unless otherwise noted, all film descriptions are by Martha Driver.
HISTORICAL FIGURES/EVENTS:
Youssef Chahine
SALADIN / EL NASER SALAH EL DINE
1963, 145 min, 35mm-to-video. In Arabic with English subtitles.
An Egyptian blockbuster and the most expensive Arabic film ever
made, SALADIN tells the 12th-century story of Saladin during
the Third Crusade. Providing a counterpoint to Western Crusade
movies, SALADIN portrays the Arabs as moral victims of Western
colonialism in the Holy Land. The historical Saladin insured safe
passage of pilgrims of all faiths; a Crusader attack on a group of
merchants that precipitated the battle of Hattin is transformed
by Chahine into the slaughter of religious pilgrims en route to
Mecca.
–Thurs, April 11 at 7:00, Mon, April 15 at
7:30, and Fri, April 26 at 7:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Andrei Tarkovsky
ANDREI RUBLEV
1966, 205 minutes, 35mm. In Russian with English subtitles.
COMPLETE DIRECTOR’S CUT!
Set in the 15th century, ANDREI RUBLEV presents eight scenes
from the life of one of Russia’s greatest icon painters (about
whom little is actually known) and concludes with photographs
of images of the objects the historical Rublev actually made. The
film is a parable of the struggle of a creative artist in a repressive
society and has been read by some Western critics as reflective
of Tarkovsky’s own struggles to make movies under the Soviet
regime.
–Fri, April 12 at 7:00, Sun, April 14 at 4:30,
and Sat, April 27 at 6:30.
Robert Bresson
THE TRIAL OF JOAN OF ARC /
PROCÈS DE JEANNE D’ARC
1962, 65 minutes, 35mm. In French with English subtitles.
Bresson’s version opens with Joan’s parents requesting that
the Church reconsider its condemnation and then moves to a
flashback of her trial and death at the stake. Bresson draws
from the published historical records of Joan’s trial and uses, as
he said, “historical words…to find a non-historical truth.” Film
critic Barthélemy Amengual has described Bresson’s Joan as
both inflexible and assured, as a woman warrior who “defends
herself and even attacks.”
–Sat, April 13 at 3:00 and
Tues, April 16 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Jacques Rivette
JOAN THE MAID / JEANNE LA PUCELLE
1994, Part I: 160 min / Part II: 176 min, 35mm. In French with English
subtitles.
Rivette’s epic film begins with Joan’s decisive victory for the
French at Orleans, and details her journey with the dauphin to
his crowning at Rheims, her subsequent capture and trial, and
finally her death. The film combines documentary with reenactment
footage, and uses clips of talking heads of the actors and
actresses who play the role of witnesses giving their testimonies,
which are drawn from the transcript of Joan’s rehabilitation trial.
–Part I: Sat, April 13 at 4:45 and
Wed, April 17 at 7:00.
–Part II: Sat, April 13 at 8:00 and
Thurs, April 18 at 7:00.
John Huston
A WALK WITH LOVE AND DEATH
1969, 90 min, 35mm
Set in France during the Hundred Years War
(1337-1453) between France and England,
Huston’s film examines the fragility of romantic
love against a backdrop of violence and warfare.
Loosely based on the 1358 revolt of French
peasants (and drawn from Hans Koningsberger’s
1961 novel of the same title), Huston’s
classic antiwar film marks the debut of Anjelica
Huston.
–Sun, April 14 at 8:30 and
Tues, April 16 at 7:00.
–continues on next page–
13

ROBIN AND MARIAN DON QUIXOTE
THE MIDDLE AGES ON FILM, CONT’D
MEDIEVAL LITERATURE/LEGEND:
Pier Paolo Pasolini
THE DECAMERON / IL DECAMERON
1971, 112 min, 35mm. In Italian with English subtitles.
The best version of Boccaccio’s classic collection of medieval
stories ever made, this film retains the sexiness, impudence, and
hilarity of the original. Pasolini himself turns up as the painter’s
assistant in the fifth story told on day six, a debate between the
historical jurist and politician Forese da Rabatta and Giotto, the
most important Italian painter of the fourteenth century.
–Wed, May 22 at 6:45, Sun, May 26 at 8:45,
and Thurs, May 30 at 6:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Sergei Paradjanov
LEGEND OF SURAM FORTRESS /
AMBAVI SURAMIS TSIKHITSA
1986, 88 min, 35mm. In Georgian with English subtitles.
“After films set in the 19th and 18th centuries, this one goes all
the way back to the Middle Ages, and medieval art, theater, and
literature form much of the basis of the style here. … [A] deeper
use of space and a much more expansive use of landscape makes
the visual style closer to tapestries than to icons.” –Jonathan
Rosenbaum, CHICAGO READER
–Wed, May 22 at 9:15, Mon, May 27 at 7:00,
and Mon, June 3 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Ingmar Bergman
THE VIRGIN SPRING / JUNGFRUKÄLLAN
1960, 89 min, 35mm. In Swedish with English subtitles.
Set in 13th-century Sweden, this film concerns the rape and death
of a young girl, her father’s vengeance, and finally his redemption.
The script is based on the Swedish ballad “Töre of Vänge’s Daughters”.
This film has elements of “medieval noir”, in which film noir
is linked “to the apocalyptic and millennial discourses associated
with the Middle Ages” (John M. Ganim, “Medieval Noir: Anatomy
of a Metaphor”).
–Thurs, May 23 at 7:00 and
Mon, May 27 at 9:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Kenji Mizoguchi
SANSHO THE BAILIFF / SANSHō DAYū
1954, 124 min, 35mm. In Japanese with English subtitles.
“The movie explores the strengths and the tenuousness of family
ties in scenes that are freshets of feeling. … When Sansho sees the
freed and elevated Zushio, he exclaims, ‘It’s like a fairy tale! A slave
becoming a governor!’ But in this fairy tale no one lives happily ever
after. Terrifying and cathartic, SANSHO THE BAILIFF is a morality
play without easy moralism.” –Michael Sragow, CRITERION
14
–Thurs, May 23 at 9:00, Tues, May 28 at 6:45,
and Thurs, May 30 at 9:00.
SERIES
MARKÉTA LAZAROVÁ
Richard Lester
ROBIN AND MARIAN
1976, 106 min, 35mm. With Sean Connery & Audrey Hepburn.
Lester’s film tells the later history of the legendary outlaw Robin
Hood. Rather than portraying him as an energetic (and perpetual)
youth, this film presents a man who has faced disappointment
and is scarred from his years of warfare with Richard the Lionheart
in the Holy Land. After twenty years of fighting, Robin Hood
returns to Sherwood to reunite with Maid Marion who is now an
abbess. ROBIN AND MARION fearlessly shows the death of the
hero, a common representation in medieval and later texts of the
Robin Hood story though not a feature in other films.
–Fri, May 24 at 7:15, Tues, May 28 at 9:15,
and Mon, June 3 at 6:45.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Grigori Kozintsev
DON QUIXOTE / DON KIKHOT
1957, 110 min, 35mm. In Russian with English subtitles.
“This masterful adaptation of Cervantes’ novel features Nikolai
Cherkasov as Quixote, who is so impressed with tales of chivalry
that he becomes a knight errant and takes up arms to defend
the poor and oppressed. Kozintsev brings a great sense of color,
spectacle, and comedy to the table, but preserves Don Quixote’s
dignity.” –FACETS
–Fri, May 24 at 9:30, Wed, May 29 at 9:00,
and Tues, June 4 at 7:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Eric Rohmer
CATHERINE DE HEILBRONN
1980 138 min, digital video. In French with English subtitles.
“Rohmer returned to THE MARQUISE OF O author Heinrich von
Kleist for this gorgeous staging (from Rohmer’s own translation)
of the author’s popular medieval play…. Pascale Ogier stars as
the beautiful armourer’s daughter who becomes infatuated with
a gallant knight and leaves home to follow him, whereupon she
finds herself in the crosshairs of a jealous rival, Kunigunde de
Thurneck.” –FILM SOCIETY OF LINCOLN CENTER
–Sat, May 25 at 4:15 and
Sun, June 9 at 5:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Kaneto Shindo
ONIBABA
1964, 103 min, 35mm. In Japanese with English subtitles.
“A creepy, interesting, and visually striking [film], set in the 16th
century in the midst of a civil war, about two poor women who
live in the marshes and support themselves by luring wounded
samurai to their deaths and then selling their possessions.
Things get more complicated when the partnership is threatened
by the younger of the two women becoming romantically
involved with a neighbor, and the film builds to a macabre and
eerie climax.” –Jonathan Rosenbaum, CHICAGO READER
–Sat, May 25 at 7:15, Sat, June 1 at 9:30, and
Sun, June 9 at 8:30.
Kaneto Shindo
KURONEKO
1968, 99 minutes, 35mm. In Japanese with
English subtitles.
“As it slides between realism and extreme
artifice, using cinematic and theatrical
devices, KURONEKO becomes increasingly,
pleasurably difficult to predict. […]
Using spare dialogue…Mr. Shindo creates
a supernatural story that combines
folkloric elements with social commentary
and a touchingly sad love story.”
–Manohla Dargis, NEW YORK TIMES
–Sat, May 25 at 9:30,
Wed, May 29 at 6:45, and
Sun, June 2 at 8:30.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Yvan Lagrange
TRISTAN AND ISOLDE /
TRISTAN ET ISEULT
1972, 60 min, 16mm. In French with projected
English subtitles.
Lagrange’s film cannot precisely be
described as narrative. Episodes from the
story of the doomed lovers are evoked
though “images of violence and explicit
eroticism.” Only Isolde speaks; the rest of
the story is told through visual sequences
that sometimes draw on medieval iconography,
representing “the naked myth set
beyond anecdotal tradition” (Jean Marcel,
“Le Dernière métamorphose de Tristan:
Yvan Lagrange”).
–Sun, May 26 at 3:45 and
Tues, June 4 at 9:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Frantisek Vlácil
MARKÉTA LAZAROVÁ
1967, 180 min, 35mm. In Czech with English
subtitles. Archival print courtesy of Pacific Film
Archive.
“Filmed under treacherous conditions
in the mountains of southern Bohemia,
MARKÉTA LAZAROVÁ plays out a parallel
between barbarism and ‘civilized’ brutality
in the 13th century with a dazzling visual
sensibility and uncanny realism, both
physical and psychological. Its achievement
in dynamic, widescreen cinematography
at the time was paralleled only by
the Japanese and Soviet epic film styles.”
–PACIFIC FILM ARCHIVE
–Sun, May 26 at 5:15.

APRIL 2013
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 2 3 4 5 6
6:00 Stom Sogo PGM 3, p 6
7:15 Stom Sogo PGM 1, p 6
8:15 Stom Sogo PGM 4, p 6
9:00 Stom Sogo PGM 2, p 6
7 8 9 10 11 12 13
3:00 Bresson TRIAL OF JOAN OF
ARC, p 13
7:00 Tarkovsky ANDREI RUBLEV,
p 13
6:00 NEWFILMMAKERS, p 27 7:00 Chahine SALADIN, p 13
3:30 EC: Valentin/Vigo PGM, p 2
5:30 Stom Sogo PGM 5, p 6
4:45 Rivette JOAN THE MAID,
Part 1, p 13
7:30 SHOW & TELL: Hannes
Schüpbach, p 11
6:00 NEWFILMMAKERS, p 27
8:00 Rivette JOAN THE MAID,
Part 2, p 13
7:30 Stom Sogo PGM 6, p 6
14 15 16 17 18 19 20
2:00 Liu SHAOLIN & WU-TANG,
p 19
4:00 Cheung SHAOLIN TEMPLE
AGAINST LAMA, p 19
6:00 Wai ANGEL TERMINATORS,
p 19
7:45 Nick Zedd in Mexico
PGM 2, p 22
8:00 Kung Fu Fest – Secret
Screening!, p
10:00 Ho RED SPELL..., p 19
6:15 Lau THE ODD COUPLE, p 19
7:30 Nick Zedd in Mexico PGM 1,
p 22
7:00 Rivette JOAN THE MAID,
Part 2, p 13
6:00, 7:00, 8:15, 9:30
NEWFILMMAKERS, p 27
4:30 Tarkovsky ANDREI RUBLEV, 7:30 Chahine SALADIN, p 13 7:00 Huston WALK WITH LOVE
p 13
AND DEATH, p 13
7:00 Rivette JOAN THE MAID,
Part 1, p 13
9:00 Bresson TRIAL OF JOAN OF
ARC, p 13
7:00 Auder CLEOPATRA, p 21
8:30 Liu SHAOLIN AND WU-
TANG, p 19
10:30 Law THE DRAGON LIVES
AGAIN, p 19
8:30 Huston WALK WITH LOVE
AND DEATH, p 13
21 22 23 24 25 26 27
3:30 EC: Kenneth Anger PGM,
p 2
7:30 Chahine SALADIN, p 13
7:30 Cinebeasts Subway PGM,
p 23
6:00, 7:00, 8:15, 9:45
NEWFILMMAKERS, p 27-28
7:00 NYWIFT: Kaufman
SHADOWS FROM MY PAST,
p 12
6:30 Tarkovsky ANDREI RUBLEV,
p 13
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
1:00 Law THE DRAGON LIVES
AGAIN, p 19
3:15 Ho RED SPELL..., p 19
3:30 EC: Warhol/Whitney PGM, p 2
5:15 Wai ANGEL TERMINATORS,
p 19
5:30 EC: Warhol MY HUSTLER, p 2
7:15 Cheung SHAOLIN TEMPLE
AGAINST LAMA, p 19
7:30 Matta-Clark PGM, p 22
9:15 Lau THE ODD COUPLE, p 19
28 29 30
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
7:30 FLAMING CREATURES –
50th Anniversary PGM, p 23
4:15 EC: Baillie/Crockwell
PGM, p 2
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
6:30 EC: Baillie QUICK BILLY, p 2
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4

MAY 2013
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 2 3 4
1:00 IDEAS CITY: Shorts PGM,
p 23
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
6:00, 7:00, 8:00
NEWFILMMAKERS, p 28
3:00 IDEAS CITY: DeRosa &
Senko VANISHING CITY, p 23
5:15 EC: Peter Kubelka PGM,
p 2, 4
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
8:00 Mekas OUT-TAKES FROM
THE LIFE OF A HAPPY MAN, p 4
5 6 7 8 9 10 11
4:30 & 7:30 Wang Bing
THREE SISTERS, p 5
6:45 Daves PRIDE OF THE
MARINES, p 7
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
6:00 NEWFILMMAKERS, p 28
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
5:00 EC: Peter Kubelka PGM,
p 2, 4
5:00 Daves BROKEN ARROW, p 7
7:30 Wang Bing THREE SISTERS,
p 5
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
7:00 Kudláček FRAGMENTS OF
KUBELKA, p 4
7:00 Daves COWBOY, p 7
9:15 Daves THE RED HOUSE, p 7
9:15 Daves THE LAST WAGON,
p 7
12 13 14 15 16 17 18
3:45 EC: Stan Brakhage PGM,
p 2
7:30 SHOW & TELL: Shelly Silver
PGM 1, p 11
7:00 Daves THE LAST WAGON,
p 7
6:00, 7:15, 9:15
NEWFILMMAKERS, p 28
7:00 Daves BROKEN ARROW, p 7
7:00 Daves THE RED HOUSE, p 7
4:30 & 7:30 Wang Bing
THREE SISTERS, p 5
7:30 Wang Bing THREE SISTERS, 7:30 Wang Bing THREE
p 5
SISTERS, p 5
6:00 SHOW & TELL: Shelly Silver
PGM 2, p 11
7:30 Wang Bing THREE SISTERS, 7:30 Wang Bing THREE
p 5
SISTERS, p 5
5:00 Daves PRIDE OF THE
MARINES, p 7
9:00 Daves PRIDE OF THE
MARINES, p 7
9:15 Daves COWBOY, p 7
8:00 SHOW & TELL: Shelly Silver
PGM 3, p 12
9:15 Daves COWBOY, p 7
8:00 BERLIN, SYMPHONY OF A
CITY – Live Score, p 24
19 20 21 22 23 24 25
3:00 EC: Stan Brakhage PGM,
p 3
4:15 Rohmer CATHERINE DE
HEILBRONN, p 14
5:00 EC: Brakhage TEXT OF
LIGHT, p 3
7:00 Ken Jacobs PGM 3, p 8
7:15 Shindo ONIBABA, p 14
9:00 Ken Jacobs PGM 4, p 8
9:30 Shindo KURONEKO, p 14
7:00 Ken Jacobs PGM 1, p 8
7:00 Bergman VIRGIN SPRING,
p 14
6:00, 7:30, 9:00
NEWFILMMAKERS, p 28
4:15 EC: Stan Brakhage PGM,
p 2-3
7:15 Lester ROBIN AND MARIAN,
p 14
7:30 SINGLE FRAME: Barbara
Moore, p 24
6:45 Pasolini THE DECAMERON,
p 14
6:15 EC: Brakhage DOG STAR
MAN, p 3
9:15 Ken Jacobs PGM 2, p 8
9:30 Kozintsev DON QUIXOTE,
p 14
9:00 Mizoguchi SANSHO THE
BAILIFF, p 14
9:15 Paradjanov LEGEND OF
SURAM FORTRESS, p 14
8:00 EC: Brakhage SONGS
1-14, p 3
26 27 28 29 30 31 June 1
5:00, 7:00 & 9:00
Omirbayev STUDENT, p 5
7:00 & 9:00 Omirbayev
STUDENT, p 5
6:30 Pasolini THE DECAMERON,
p 14
6:00, 7:45, 9:00
NEWFILMMAKERS, p 28
6:45 Mizoguchi SANSHO THE
BAILIFF, p 14
7:00 Paradjanov LEGEND OF
SURAM FORTRESS, p 14
9:30 Shindo ONIBABA, p 14
7:30 Child UNBOUND, p 25
7:30 CATALYSTS: Ahwesh &
Sanborn, p 24
6:45 Shindo KURONEKO, p 14
7:00 NYWIFT: Schapira
PROPHECY OF THE SEERESS,
p 12
9:00 Bergman VIRGIN SPRING,
p 14
9:00 Mizoguchi SANSHO THE
BAILIFF, p 14
9:00 Kozintsev DON QUIXOTE,
p 14
9:15 Lester ROBIN AND MARIAN,
p 14
3:30 EC: Brakhage PITTSBURGH
TRILOGY, p 3
3:45 Lagrange TRISTAN AND
ISOLDE, p 14
5:15 Vlácil MARKETA
LAZAROVA, p 14
6:15 Ken Jacobs PGM 5, p 8
8:30 Ken Jacobs PGM 6, p 8
8:45 Pasolini THE DECAMERON,
p 14

JUNE 2013
SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
2 3 4 5 6 7 8
3:15 Ogawa REPORT FROM
HANEDA, p 9
4:45 Ogawa SUMMER IN
SANRIZUKA, p 9
7:15 Ogawa THE THREE DAY
WAR, p 9
8:30 Ogawa PEASANTS OF THE
SECOND FORTRESS, p 10
7:15 Ogawa SEA OF YOUTH, p 9
7:00 & 9:00 Omirbayev
STUDENT, p 5
6:00, 7:00, 9:00
NEWFILMMAKERS, p 28
7:00 & 9:00 Omirbayev
STUDENT, p 5
6:45 Lester ROBIN AND MARIAN,
p 14
3:00 Child A SHAPE OF ERROR,
p 25
8:45 Ogawa FOREST OF
OPPRESSION, p 9
7:30 Unessential Cinema, p 25
7:00 & 9:00 Omirbayev
STUDENT, p 5
7:15 Kozintsev DON QUIXOTE,
p 14
7:00 & 9:00 Omirbayev
STUDENT, p 5
5:00, 7:00 & 9:00
Omirbayev STUDENT, p 5
9:30 Lagrange TRISTAN AND
ISOLDE, p 14
9:15 Paradjanov LEGEND OF
SURAM FORTRESS, p 14
8:30 Shindo KURONEKO, p 14
9 10 11 12 13 14 15
1:15 Ogawa HETA VILLAGE, p 10
2:15 Ogawa THE THREE DAY
4:15 Ogawa THE SKIES OF MAY, 7:00 Ogawa FURUYASHIKI 7:00 Ogawa MAGINO VILLAGE – 6:00, 7:45, 9:00 7:00 Ogawa FOREST OF 7:00 Ogawa RED PERSIMMONS, WAR, p 9
p 10
VILLAGE, p 10
A TALE, p 10
NEWFILMMAKERS, p 28 OPPRESSION, p 9
p 10
5:30 Rohmer CATHERINE DE
3:30 Oshige VISIT TO OGAWA
HEILBRONN, p 14
7:00 Ogawa A MOVIE CAPITAL, 9:15 Ogawa SEA OF YOUTH, p 9 9:00 Ogawa SUMMER IN PRODUCTIONS, p 11
p 10
SANRIZUKA, p 9
6:15 Ogawa SONG OF THE
5:00 Ogawa PEASANTS OF THE
BOTTOM, p 10
9:00 Ogawa RED PERSIMMONS,
SECOND FORTRESS, p 10
8:30 Shindo ONIBABA, p 14
p 10
8:45 Ogawa RAISING SILK-
8:00 Ogawa HETA VILLAGE, p 10
WORMS, p 10
16 17 18 19 20 21 22
2:30 Levine DRIVEN (WITH
KATHA WASHBURN), p 21
7:00 Kiarostami TASTE OF
CHERRY, p 21
7:00 Auto-Cinema SHORTS
PGM, p 20
6:45 Cronenberg COSMOPOLIS,
p 20
6:00, 7:30, 9:00
NEWFILMMAKERS, p 28-29
6:45 Ogawa RAISING
SILKWORMS, p 10
1:30 Ogawa MAGINO VILLAGE –
A TALE, p 10
4:30 Carax HOLY MOTORS, p 20
5:30, 7:15 & 9:00 Endo
KUICHISAN, p 5
7:15 & 9:00 Endo
KUICHISAN, p 5
7:30 MEMBERS ONLY: British
Shorts PGM, p 25
7:30 SINGLE FRAME: Yuji
Agematsu, p 24
7:00 Ogawa FURUYASHIKI
VILLAGE, p 10
9:15 Ogawa A MOVIE CAPITAL,
p 10
6:00 Ogawa SONG OF THE
BOTTOM, p 10
7:00 Cronenberg CRASH, p 21
9:15 Cronenberg COSMOPOLIS,
p 20
9:15 Kiarostami 10, p 21
9:00 Lord MOTORIST, p 20
9:00 Carax HOLY MOTORS, p 20
8:30 Hammer DEVOTION, p 11
23 24 25 26 27 28 29
3:15 EC: James Broughton
PGM 1, p 3
5:00 EC: James Broughton
PGM 2, p 3
7:15 EC: Robert Breer PGM 1, p 3
9:00 EC: Robert Breer PGM 2, p 3
7:30 Naked Eye Cinema PGM,
p 26
7:15 & 9:00 Endo KUICHISAN,
p 5
6:00, 7:00, 8:15, 9:30
NEWFILMMAKERS, p 29
7:00 NYWIFT: Cummings
IN MONTAUK, p 12
6:45 Carax HOLY MOTORS, p 20
2:00 Kiarostami 10, p 21
4:00 Kiarostami TASTE OF
CHERRY, p 21
7:30 SHOW & TELL: Seoungho
Cho, p 12
7:15 & 9:00 Endo
KUICHISAN, p 5
7:15 & 9:00 Endo
KUICHISAN, p 5
7:15 & 9:00 Endo
KUICHISAN, p 5
5:30, 7:15 & 9:00 Endo
KUICHISAN, p 5
9:15 Cronenberg CRASH, p 21
9:15 Cronenberg COSMOPOLIS,
p 20
BICYCLE FILM FESTIVAL, June 28-30, p 29
6:15 Cronenberg CRASH, p 21
8:30 Auto-Cinema SHORTS
PGM, p 20
30
3:45 EC: Joseph Cornell PGM 1,
p 4
6:00 EC: Joseph Cornell PGM 2,
p 4
8:00 Secret Life of AFA, p 26
BICYCLE FILM FEST, p 29

RARE + OUT-OF-PRINT
BOOKS, DVDs, & MAGAZINES
NOW FOR SALE AT ANTHOLOGY’S BOX OFFICE!
Jonas Mekas: The Major Works
Six-DVD Box Set $95
Unseen Cinema: Early American Avant-Garde Film 1894-1941
NOW AVAILABLE FOR JUST $25!
Out-of-print and soon-to-be unavailable!
Treasures IV: American Avant-Garde Film, 1947-1986
NOW AVAILABLE FOR JUST $33!
ONLINE BOOK STORE COMING SOON!
(Be sure to check our website…)

SHAOLIN AND WU-TANG ANGEL TERMINATORS
Lau Kar-wing
THE ODD COUPLE
1979, 97 min, 35mm
There are 18 different weapons in Chinese martial
arts, and in this flick someone’s gonna get stabbed
with every single one of them. Sammo Hung and Lau
Kar-wing play elderly martial arts masters who duel
each year to decide whose technique is better, but
they always end in a draw. Now they’ve each taken
a student (also played by Sammo Hung and Lau Karwing)
leaving it to the younger generation to duke it
out. Problem: their students get kidnapped by an old
enemy (played by the inimitable martial arts mimic,
“Beardy” Leung Kar-yan). Solution: both masters team
up to kick maximum butt with maximum weaponry. A
face bomb of comedy kung fu as well as serious, old
school action, it’s the opening and closing movie of the
Old School Kung Fu Fest because it is, quite simply, the
alpha and omega of martial arts movies.
–Fri, April 19 at 6:15 and
Sun, April 21 at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Gordon Liu
SHAOLIN AND WU-TANG
1983, 89 min, 35mm
The movie that inspired the Wu-Tang Clan’s first
album is a blast of hardcore, old school mayhem.
Gordon Liu (bald-headed brother of Lau Kar-leung)
was ticked off that the sequel to his landmark 36TH
CHAMBER OF SHAOLIN was played for laughs, so
he directed, choreographed, and starred in this ‘real’
sequel. Liu plays a student of Shaolin, and his buddy,
the charming Adam Cheng, is a student of Wu-Tang.
Their masters refuse to teach the Manchu prince their
moves, so the prince manipulates the two schools
into combat, counting on killing the winner. Then:
everybody fights! Shot with the scale and scope of a
Shaw Brothers production, this movie is an avalanche
of action with its stars unleashing the beast in scene
after scene of blistering combat.
–Fri, April 19 at 8:30 and
Sat, April 20 at 2:00.
SERIES
Law Kei
THE DRAGON LIVES AGAIN
1977, 95 min, 35mm
WARNING: Watching This Movie Will Destroy
Your Brain!!!!! Four years after Bruce Lee died,
everyone was cashing in on his legend with
look-a-like films, but this is the most notorious
Brucesploitation movie of them all. Bruce Lee is
dead, but his adventures aren’t over. He arrives
in Hell where he must fight Dracula, Clint Eastwood,
and the Godfather in order to come back
to life. Fortunately, Popeye is there to lend a
hand. Bruce Lee is played by Bruce Leung (KUNG
FU HUSTLE) but even his genuine skills can’t
stop the madness. Beginning with the corpse of
Bruce Lee getting an erection (Don’t worry – it’s
just his nunchakus!) and ending with him flying
away as the cast waves “Goodbye!”, you cannot
unsee this movie.
–Fri, April 19 at 10:30 and
Sun, April 21 at 1:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Cheung Gin-gat
SHAOLIN TEMPLE AGAINST
LAMA
1980, 85 min, 16mm, in Mandarin w/ English subtitles. Print
provided by the Taipei Economic and Cultural Office New York.
In this flick, Tibet’s evil Black Lamas (you know
they’re evil by the skulls in their hair) decide to
wage war on Shaolin Temple while wearing
costumes that would put Bootsy Collins to shame.
The Lamas manipulate a righteous Tibetan prince
to be their proxy face-breaker in a war with the
hard-hitting Shaolin monks, and what ensues is
a whirlwind of non-stop mayhem spiced with a
whiff of funky incense. Never content to show two
men fighting when it could show 20, this film is
a psychedelic throwback to a time when kung fu
movies were allowed to do absolutely anything as
long as they kept your eyes glued to the screen.
–Sat, April 20 at 4:00 and
Sun, April 21 at 7:15.
RED SPELL SPELLS RED
OLD SCHOOL KUNG FU FEST
April 19-21
Just when you thought it was safe to go back in the movie theater…the Old School Kung Fu Fest is back! The New York Asian Film Festival’s wildly popular celebration of kung fu movies
from the 70s and 80s that pop your lock, rattle your chops, and put the pain inside your brain has returned after a 10-year absence to send your kung fu knowledge back to school. This
time the spotlight shines on some of the biggest stars in some of their rarest movies. We’ve got Gordon Liu (36TH CHAMBER OF SHAOLIN), Sammo Hung (Jackie Chan’s “big brother”), Kara
Hui (Lau Kar-leung’s female star of choice), Bruce Leung (KUNG FU HUSTLE), and even Bruce Lee (after a fashion). With prints loaned from the vaults of the American Genre Film Archive
and the Taipei Economic and Cultural Office New York, prepare to earn your Master’s Degree in Kick Ass-ology!
Organized by the New York Asian Film Festival (www.subwaycinema.com), featuring old school curatorial skillz by Grady Hendrix and Goran Topalovic. In memory of our friend Daniel Anderson Craft. Special thanks to Jerry
Ma of Epic Proportions (www.epicprops.com) for another kick-ass poster design. Daniel would’ve approved!
Unless otherwise noted, the 35mm prints were provided by the American Genre Film Archive (www.americangenrefilm.com), and are in Cantonese with English subtitles.
Wai Lit
ANGEL TERMINATORS
1990, 91 min, 35mm
Shot in 1990 but not released until two years later, this girls-with-guns
flick is an undiscovered grindhouse joyride full of bare-knuckled stars:
Lau Kar-leung acolyte, Kara Hui; the “lady Jackie Chan” Sharon Yeung;
Japanese back-breaker, Michiko Nishiwaki; the sultry Carrie Ng; angry
white boy, Mark Houghton; and everyone’s favorite bad guy, Dick Wei. Two
lady cops and one gangster’s ex-girlfriend endure drug addiction, theme
park shoot-outs, having their heads shoved in toilets, kicks to the face,
terrifying high impact falls, and major concussions to prove that women
are 10 times better than men. No subtitled prints of this movie exist, so
we’re subtitling this one live in a twice-in-a-lifetime celebration of high
caliber girl power.
–Sat, April 20 at 6:00 and
Sun, April 21 at 5:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
SECRET SCREENING – ONE SHOW ONLY!!!!
We can’t tell you the title of this rarely-seen martial arts movie, but trust
us: you want to see it on the big screen. In the early 80s, big studios were
trying anything to attract audiences, so this flick mixes three genres and
then adds plenty of crack: you’ve got your wandering swordsman movie,
your gore film, and a sexploitation shocker. The result is a whacked-out,
hyper-gothic version of “The Monkey’s Paw”, full of occult dungeons,
human face frisbees, wild plot twists, swinging swordplay, and naked
demon ladies having kung fu freak-outs.
–Sat, April 20 at 8:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Titus Ho
RED SPELL SPELLS RED
1983, 93 min, 35mm
Career-minded Hong Kongers with no respect for tradition go to Borneo
to shoot a TV segment and wind up violating the tomb of the Red Dwarf
Sorcerer, who returns the favor by violating their bodies from beyond the
grave with scorpions, killer trees, and even more scorpions. Scorpions
attack! Scorpions get smashed! Scorpions crawl out of pustulent blisters!
Never released on DVD, this unhinged rarity makes BOXER’S OMEN look like
Walt Disney as it flings shovelfuls of objectionable content in your face, from
busty women in see-through t-shirts, to the slaughter of a LOT of real pigs,
to a slew of outrageously nasty deaths. Technically it’s not an action film, but
there’s no way we could not show this gore-soaked hayride!
–Sat, April 20 at 10:00 and Sun, April 21 at 3:15.
19

COSMOPOLIS HOLY MOTORS
AUTO-CINEMA
June 19-25
20
SERIES
2012 saw the near-simultaneous release of David Cronenberg’s COSMOPOLIS and Leos Carax’s HOLY MOTORS, two of the most audacious and astonishing commercial films in
recent memory, but also films that are uncannily similar in their conception – each takes place largely within the confines of a stretch limo, which slowly makes its way through a
strange and strikingly unreal urban landscape. While one can only conjecture as to why these two works might’ve come into existence at the same time, they’re not the first films to
make the seemingly perverse decision to limit their worlds mostly (if not entirely) to the interior of a car. Among narrative filmmakers, Abbas Kiarostami has made a habit of setting
his films in cars, while Cronenberg previously adapted J.G. Ballard’s cult novel CRASH into a film that elevates the interior of an automobile into a disturbingly and erotically charged
space. And avant-garde filmmakers too have betrayed a fascination with the car not so much as a means of transportation but as a kind of miniature world, using the interior of an
automobile to mirror our own consciousness, to act as a fruitful formal limitation, or to play with off-screen space. Highlighting some of the extraordinary films that have explored the
dramatic and philosophical potential of cars not as cultural objects or means of generating action (no car chases here!), but as enclosed, charged spaces, simultaneously in motion
and static, this series demonstrates how diverse the results have been.
Special thanks to Morgan Fisher, Alfred Leslie, Saul Levine, Brian Belovarac (Janus Films), Cassie Blake (Academy Film Archive), Rebecca Cleman (Electronic Arts Intermix), Benjamin Crossley-Marra (Zeitgeist Films),
Jamie Muir (Swank), and Marilee Womack (WB).
David Cronenberg
COSMOPOLIS
2012, 109 min, 35mm. With Robert Pattinson, Sarah Gadon, Paul Giamatti, Juliette
Binoche, and Samantha Morton.
An adaptation of Don DeLillo’s 2003 novel of the same name, Cronenberg’s
latest film finds him working at the height of his powers, further developing
the dramatic, metaphoric, and philosophical dimensions of the car interior
that he earlier explored in 1996’s CRASH. COSMOPOLIS charts a day in the
life of Eric Packer (Pattinson), a bored and benumbed financial wunderkind,
as he journeys slowly across NYC in his chauffeured stretch limo,
receiving a succession of visitors and encountering a protesting populace
that becomes increasingly angry and violent. In classic Cronenberg fashion,
the limo becomes a metaphor of tremendous elasticity and suggestiveness,
mirroring Packer’s psychological insularity, his narcissism, and his sheltered
detachment from the social and financial reality around him, as well as
suggesting the ways in which technology has drawn us all into a kind of
bubble, into and out of which information flows rapidly but genuine engagement
becomes increasingly rare.
–Wed, June 19 at 6:45, Sat, June 22 at 9:15, and
Mon, June 24 at 9:15.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Leos Carax
HOLY MOTORS
2012, 115 min, 35mm. In French with English subtitles. With Denis Lavant, Edith Scob, Eva
Mendes, Kylie Minogue, and Michel Piccoli.
Leos Carax’s long-awaited new feature stars his favored muse, the inimitable
and impish Denis Lavant, as a mysterious figure who (like a nocturnal
version of COSMOPOLIS’s Eric Packer) glides through Paris by night in a
stretch limo in whose confines he transforms himself into a succession of
radically different characters, whose miniature stories play out in separate
locations. In COSMOPOLIS the limo functions as a kind of condensed, microcosmic
stage, but in HOLY MOTORS it’s more like an existential backstage,
where Lavant dons various identities and disguises. A genuinely enigmatic,
baffling, but wondrous film, HOLY MOTORS is a true one-of-a-kind.
–Wed, June 19 at 9:00, Sat, June 22 at 4:30, and
Mon, June 24 at 6:45.
MOTORIST
SHORT FILM PROGRAM
Alfred Leslie & Frank O’Hara THE LAST CLEAN SHIRT 1964, 39 min, 16mm, b&w
Filmed in one continuous take from the back seat of a convertible driving in lower Manhattan,
this film’s thrice-repeated footage features magnificent subtitles by Frank O’Hara that first
appear as a ‘translation’ of the white wife character’s double-talk Danish monologue and then
as the unspoken thoughts of her black doctor husband.
Bette Gordon & James Benning THE UNITED STATES OF AMERICA
1975, 27 min, 16mm. Preserved with support from The National Film Preservation Foundation.
A conceptual bicentennial film dealing with spatial and temporal relationships between two travelers,
their car, and the geographic, political, and social changes from New York to Los Angeles.
Morgan Fisher TURNING OVER 1975, 13 min, video, b&w. Courtesy of the Academy Film Archive.
In this deadpan video, Fisher drives around San Francisco as his odometer approaches 100,000
miles, marking the momentousness of the event with a hilariously sustained monologue to the
camera.
Paul Kos & Marlene Kos LIGHTNING 1976, 1.5 min, video, b&w
“When I look for the lightning, it never strikes. When I look away, it does.” Filmed inside a car,
this tape focuses on observation of natural phenomena, presenting the obverse of the “If a tree
falls in the woods…” conundrum.
Andrew T. Betzer IVAN RUNS SOME ERRANDS, RUNS AMOK 2004, 14 min, 35mm
Ivan, a stranger in a strange land, steals a car with a child in the backseat. He fulfills his domestic
urges and then disappears into the night.
Total running time: ca. 100 min.
–Thurs, June 20 at 7:00 and Sun, June 23 at 8:30.
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Chip Lord
MOTORIST
1989, 69 min, video. With Richard Marcus.
This feature-length video by Chip Lord (one of the founding members of the multi-media collective
Ant Farm) is a combination roadtrip-, essay-, and collage-film exploring the American preoccupation
with car culture. Monologuing from behind the wheel of his 1962 Ford Thunderbird as
he travels across the Arizona desert, actor Richard Marcus muses on his own attachment to the
automobile, as well as commenting on the roadside motels, diners, and other sights that cater to
passing drivers. His dryly comic, deadpan observations are punctuated with glimpses of TV and
magazine ads and promotional films, whose romanticized imagery contrasts sharply with the
shabby, kitschy places he encounters on his travels.
–Thurs, June 20 at 9:00.

SERIES / SPECIAL SCREENINGS
10 CLEOPATRA
Abbas Kiarostami
TASTE OF CHERRY / TA’M E GUILASS
1997, 99 min, 35mm. In Persian with English subtitles.
“A middle-aged man who’s contemplating suicide drives around the hilly, dusty outskirts of Tehran
trying to find someone who will bury him if he succeeds and retrieve him if he fails. This minimalist
yet powerful and life-enhancing 1997 feature by Kiarostami never explains why the man wants
to end his life, yet every moment in his daylong odyssey carries a great deal of poignancy and
philosophical weight. Kiarostami, one of the great filmmakers of our time, is a master at filming
landscapes and constructing parablelike narratives whose missing pieces solicit the viewer’s active
imagination.” –Jonathan Rosenbaum, CHICAGO READER
–Fri, June 21 at 7:00 and Sun, June 23 at 4:00.
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Abbas Kiarostami
10
2002, 94 min, 35mm. In Persian with English subtitles.
“The minimalism of this Kiarostami film makes it one of the boldest experiments yet by the masterful
Iranian filmmaker: its ten sequences transpire in a car driving through Tehran, with a stylish young
divorcee at the wheel and a series of six characters in the passenger seat. Shot with two digital
video cameras mounted on the dashboard, it’s neither scripted nor directed in any ordinary sense,
but Kiarostami spent a long time preparing the nonprofessional actors (all strong performers). […]
The film offers a fascinating glimpse of the Iranian urban middle class, and though it eschews most
of the pleasures of composition and landscape found in other Kiarostami films, it’s never less than
riveting.” –Jonathan Rosenbaum, CHICAGO READER
–Fri, June 21 at 9:15 and Sun, June 23 at 2:00.
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Saul Levine
DRIVEN (WITH KATHA WASHBURN)
2008, 82 min, video
“In his ongoing series DRIVEN…Levine rides in the front seat of an automobile while one of his
friends talks about his or her life for 82 minutes (the maximum length of a single take using his
digital camera). […] Levine’s low-key mode of inquiry and his genuine passion for listening have an
infectious power.” –P. Adams Sitney, ARTFORUM
In this installment of his ongoing DRIVEN series, Levine shares a ride and an extended conversation
with his charismatic friend Katha Washburn, who shares stories about her experiences pursuing an
acting career in NYC, her job as an administrative assistant at MIT, and her night school classes at
Mass Art.
–Sat, June 22 at 2:30.
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David Cronenberg
CRASH
1996, 100 min, 35mm. With James Spader, Holly Hunter, Elias Koteas, Deborah Kara Unger, and Rosanna Arquette.
Cronenberg’s adaptation of J.G. Ballard’s cult novel paints a nightmarish, dystopic portrait of a
subculture that finds car crashes intensely erotic. A brilliant meditation on the extent to which
humans have become unavoidably and intimately enmeshed in technology, CRASH portrays a group
of men and women who embrace this interwining, who take sexual pleasure from the violent fusion
of their bodies with the cold, jagged machines within which we all spend much of our lives.
“Uncompromising in its melancholia, CRASH establishes a profound sense of seeking comfort in
the crevices of a lacerating, metallic world. In the context of this brilliant science fiction, our species
is imagined as vulnerable bits of oozing, sucking, coupling, retracting, yearning protoplasm.”
–J. Hoberman
–Sat, June 22 at 7:00, Sun, June 23 at 6:15, and Tues, June 25 at 9:15.
TAYLOR MEAD:
ON FILM, IN PERSON
You might call him the Shirley Temple of the Underground. He was definitely
one of Warhol’s funniest and most appealing Superstars. Brendan
Gill of THE NEW YORKER once quipped, “Taylor Mead looks like a cross
between a zombie and a kewpie and speaks as if his mind and mouth
were full of marshmallow.” He is a living legend whose decades of
under-the-radar, over-the-top performances in countless films, plays,
poetry houses, and bars have earned him global infamy. Luckily for us,
Taylor is also a neighborhood fixture, and to pay tribute we are presenting
an ongoing series that will celebrate his bewitching je ne sais quoi.
This calendar’s installment brings a rare screening of Michel Auder’s
CLEOPATRA, which features both Taylor and his frequent co-star, the
inimitable Viva.
Michel Auder
CLEOPATRA
1970, 155 min, 35mm-to-video
Ostensibly set in Egypt but actually filmed in (dead-ringer) upstate New
York, as well as on the hallowed Cinecittà soundstage in Italy, the production
of Auder’s CLEOPATRA was troubled in ways not too dissimilar to
the Joseph Mankiewicz film starring Elizabeth Taylor and Richard Burton
that it parodies. Both movies ran into budget troubles, but in Auder’s
case he got into a fight with the producers and the film was never
properly released, or edited. Starring regular Warhol mouthpiece Viva
as you-know-who, and her regular Factory co-star Louis Waldon in the
role of Caesar, this rambling underground epic takes place on snowmobiles,
in a hotel room that substitutes for a palace, and on the streets
of Rome. Taylor appears in the superstar-studded ensemble alongside
Nico, Gerard Malanga, and Ondine. The culminating orgy scene is, well,
a must-see.
–Sun, April 14 at 7:00.
21

22
LIL FIF FAIRY
SOUTH OF THE BORDER
WITH NICK ZEDD
Cinema of Transgression founder and downtown NYC fixture Nick Zedd recently relocated
to Mexico City, where he has immersed himself in a whole new realm of underground
culture. This spring he visits Anthology to present two programs of standout videos from
his adopted homeland. Eclectic as this work is, most of it reflects Nick’s take-no-prisoners
sensibility – unbridled, uncompromising, confrontational, and committed to uncensored
self-expression.
“When I moved to Mexico, I was curious to see what kind of personal filmmaking
existed there. Having experienced in NY the effects of a dominant culture and the way it
systematically erases authentic voices of dissent and individual self-expression through
class war and propaganda, I hoped to discover unfamiliar films that might be defined as
underground in Mexico City an environment less affected by the malignant effects of the
Simulation that now engulfs much of Western society.
“A key to escaping the science of mind control can be found in experiencing the visions
contained in this peculiar substrata of films. Cultural anthropology is my mission here, to
expose you to artifacts both similar and different from a time and place both alien and
familiar as seen through Mexican eyes.” –Nick Zedd
PROGRAM 1:
Ricardo Nicolayevsky
Selections from LOST PORTRAITS & FILMS 1982-85 1982-85, 39 min, video
Mariana Botey
THE PASSAGE OF A FEW 1999, 17 min, video
EL DEDAL DE ROSAS 1998, 13 min, video
YAHAUHQUI TEZCATLIPOCA #9 1999, 7 min, video
ENCICLOPEDIA DE MEXICO 1996, 7 min, video
Vincente Razo
PRESIDENCOLA 1996, 5 min, video
LA SOCIEDAD DEL ESPECTÁCULO, PARTE 1, VERSIÓN DE INTERÉS GENERAL
2012, 8.5 min, video
Total running time: ca. 105 min.
–Fri, April 19 at 7:30.
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PROGRAM 2:
Joaquin Segura
LIL FIF FAIRY 2004, 1.5 min, video
ACAPULCO GOLDEN 2005, 13 min, video
Dr. Fanatik & Lorenzo Lagrava
AXIS ATER
2008, 85 min, video
Teresa Margolles
BANANDO AL BEBE 1999, 10 min, video
Total running time: ca. 115 min.
–Sat, April 20 at 7:45.
SPECIAL SCREENINGS
SPLITTING, 1974. Courtesy the Estate of Gordon Matta-Clark and David Zwirner, New York/London
ABOVE, BELOW & AROUND:
FILMS OF GORDON MATTA-CLARK
In conjunction with the exhibition ‘Gordon Matta-Clark: Above and Below’ at David
Zwirner Gallery, this program explores some connections and correspondences
between the work of Matta-Clark and a circle of contemporaneous New York artists
and filmmakers working with subjects and materials that influenced and inspired
one another.
Including Matta-Clark’s own dissections and transformations, the program also
features Robert Smithson and Nancy Holt’s visceral confrontations with perception
and process, Anthony McCall’s sculptural performances in a landscape grid, Ken
Jacobs’s training in spatial disorientation, and the gravity and entropy of Smithson’s
PARTIALLY BURIED WOODSHED, as documented by Jane Crawford and Robert
Fiore. The program also includes Joseph Cornell’s earlier work, GNIR REDNOW,
whose focus on NYC’s elevated train and subway systems (above & below) rhymes
with Matta-Clark’s investigations.
This program will feature the very first screening with English subtitles
of Matta-Clark’s SOUS-SOL DE PARIS, and will be followed by a Q&A with
Jessamyn Fiore, curator of ‘Gordon Matta-Clark: Above and Below’, and
filmmakers Jane Crawford, Robert Fiore, and Anthony McCall.
‘Gordon Matta-Clark: Above and Below’ is on view at David Zwirner Gallery at 519
W. 19th St. from April 2-May 4, 2013.
Special thanks to Jessamyn Fiore, Jane Crawford & Robert Fiore, Julia Joern, Kim Donica & Liz
DeMase (David Zwirner Gallery), Ken Jacobs, Anthony McCall & Nicole Wittenberg, and Rebecca
Cleman (Electronic Arts Intermix).
Gordon Matta-Clark
SPLITTING 1974, 11 min, 16mm, b&w/color, silent
SOUS-SOL DE PARIS 1977, 26 min, 16mm, b&w. In French with English subtitles.
Anthony McCall
LANDSCAPE FOR FIRE 1972, 7 min, 16mm-to-video
LANDSCAPE FOR WHITE SQUARES 1972, 3 min, 16mm-to-video
Jane Crawford & Robert Fiore
SHEDS 2004, 22 min, video
Nancy Holt & Robert Smithson
SWAMP 1971, 6 min, 16mm-to-video
Ken Jacobs
AIRSHAFT 1967, 4 min, 16mm, silent
LET THERE BE WHISTLEBLOWERS 2005, 18 min, video, b&w/color.
Sound by Steve Reich.
Joseph Cornell
GNIR REDNOW 1955, 5 min, 16mm, silent. Shot by Stan Brakhage.
Total running time: ca. 105 min.
–Sun, April 21 at 7:30.

THE WONDER RING
THIS IS THE LAST STOP ON
THIS TRAIN:
CINEBEASTS’ SUBWAY SERIES FINALE
The subway, like cinema, is a vital communal experience that brings you elbowto-elbow
with your fellow New Yorkers. Cinebeasts has spent the last eight weeks
exploring the ‘daily miracle’ that is the New York City subway system by screening
subway-themed features, docs, and video ephemera at various theaters around
the city, and even busking with short films underground. On April 25, Cinebeasts
returns to Anthology Film Archives for the closing night of their ‘Subway Series’. With
experimental works from the Filmmakers’ Coop, prints from Anthology’s archives
including Stan Brakhage’s WONDER RING and Joseph Cornell’s version of the same
footage, GNIR REDNOW, as well as the recently preserved EL ATLANTIS by Frank
Kuenstler, and selections from an open call, this program surveys 60 years of the
beauty, anxiety, absurdity, and harmony that commutes alongside us every day.
Stan Brakhage THE WONDER RING 1955, 4 min, 16mm
Joseph Cornell GNIR REDNOW 1955, 5 min, 16mm, photographed by Stan Brakhage
Frank Kuenstler EL ATLANTIS 1973, 21 min, 16mm
Preserved by Anthology Film Archives; special thanks to Tom Gunning, University of Chicago.
Jim Jennings BRIGHTON 1983, 7.5 min, 16mm
Bill Brand MASSTRANSISCOPE 2008, 10 min, video
Robert Crawford SCENES FROM NEW YORK CITY TRANSIT 1972, 17 min, 16mm
PLUS SELECTIONS FROM CINEBEASTS’ OPEN CALL!
–Thurs, April 25 at 7:30.
FLAMING CREATURES –
50TH ANNIVERSARY!
Boo-Hooray and Anthology present a very special evening commemorating the 50th
anniversary of the first public screening of Jack Smith’s FLAMING CREATURES.
Featuring a double bill of Smith’s underground masterpiece and Ken Jacobs’s
equally ground-breaking BLONDE COBRA (recreating the program presented on
April 29, 1963 at the Bleecker Street Cinema), the program will also include some
extraordinary surprises brought to you by Tony Conrad and the Boo-Hooray crew.
Boo-Hooray is an exhibition space (at 265 Canal St) dedicated to 20th/21stcentury
counter-culture ephemera, photography, and book arts. For more info, visit:
www.boo-hooray.com.
Jack Smith
FLAMING CREATURES
1963, 45 min, 16mm, b&w
&
Ken Jacobs & Bob Fleischner
BLONDE COBRA
1959-63, 35 min, 16-to-35mm blow-up, b&w/color. Featuring Jack Smith. Preserved by Anthology,
with the generous support of The Film Foundation.
–Mon, April 29 at 7:30.
SPECIAL SCREENINGS
THE VANISHING CITY
IDEAS CITY 2013:
THE URBAN LANDSCAPE IN CINEMATIC TRANSFORMATION
This program is presented as part of IDEAS CITY, a biennial festival which was created to
explore the future city and to effect change, and which will take place in downtown New York
from May 1-4, 2013. IDEAS CITY was founded by the New Museum as a major collaboration
between dozens of downtown arts, education, and community organizations to harness the
power of the creative community and imagine our collective future. This ambitious initiative
is built upon the core belief that arts and culture constitute a driving force behind the vitality
of urban centers worldwide.
The theme for IDEAS CITY 2013 is Untapped Capital. As the world’s resources continue to
be endangered, depleted, and destroyed, we all need to imagine new solutions and develop
innovative approaches and practices. Rather than focusing on deficits, IDEAS CITY 2013 will
encourage intensive examination of surplus resources that may be under- recognized or
underutilized: Untapped Capital.
Audi Urban Future Initiative is the Lead Sponsor of IDEAS CITY.
These programs have been organized in collaboration with MM Serra (Film-Makers’ Coop) and Jen Senko.
PROGRAM 1: SHORT FILMS
This program of short films tells tales from the last five decades, and interweaves three
threads pertinent to the East Village, Soho, and the Lower East Side: the urban landscape,
subcultures that inhabit them, and changes over time.
Rudy Burckhardt SQUARE TIMES 1967, 6.5 min, 16mm
Marie Menken GO! GO! GO! 1964, 11.5 min, 16mm, silent
Coleen Fitzgibbon L.E.S. LOWER EAST SIDE 1975, 10 min, Super8mm-to-digital video
Henry Hills MONEY 1985, 15 min, 16mm-to-35mm. Preserved by Anthology Film Archives with
support from the Andy Warhol Foundation for the Visual Arts.
Joel Schlemowitz MOVING IMAGES – THE FILM-MAKERS’ COOPERATIVE RELOCATES
2001, 14 min, 16mm
Ken Jacobs JACK ON THE LOWER EAST SIDE 1957, 15 min, 16mm, b&w, silent
Excerpts from TWO WRENCHING DEPARTURES.
MM Serra BITCH-BEAUTY 2011, 6 min, video
Followed by a Q&A with selected filmmakers!
Total running time: ca. 85 min.
–Sat, May 4 at 1:00.
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PROGRAM 2:
Fiore DeRosa & Jen Senko
THE VANISHING CITY
2009, 54 min, video
This award-winning film reveals the forces behind the ‘luxurification’ of one of the world’s
most iconic cities. Told through the eyes of tenants, landlords, city planners, business owners,
scholars, and politicians, it exposes and explains the real politic behind the alarming disappearance
of NYC’s beloved neighborhoods, the truth about its finance-dominated economy,
and the myth of ‘inevitable change’.
Followed by panel and discussion with Jen Senko, Fiore DeRosa, and other experts; for more
info visit www.anthologyfilmarchives.org in April.
–Sat, May 4 at 3:00.
23

24
THE DEADMAN
SPECIAL EVENT!
‘BERLIN, SYMPHONY OF
A CITY’ WITH LIVE SCORE
Karl Freund, Carl Mayer & Walter Ruttmann
BERLIN, SYMPHONY OF A CITY /
BERLIN, DIE SYMPHONIE DER GROSSTADT
1927, 65 min, 16mm. Special thanks to Kitty Cleary (MoMA).
Tonight Anthology gives Edmund Meisel (the original composer of
BATTLESHIP POTEMKIN as well as BERLIN) the night off. Instead
the visionary ‘city symphony’ Meisel co-created with Carl Mayer,
Karl Freund, and Walter Ruttmann unspools alongside a live score
commissioned by the Springville, NY Center for the Arts, and
composed and performed by bass player, vocalist, and percussionist
Sue Garner, drummer and percussionist Rick Brown, and
guitar player and percussionist Bruce Bennett. Collectively the trio
boasts recordings and performances with The Shams, Run On, The
A-Bones, V-Effect, Angel Dean, Timber, Rattle, Fish And Roses, John
Zorn, Guigou Chenevier, Andre Williams, and Hasil Adkins, for labels
including Matador, Norton, Thrill Jockey, and Egon. The group hopes
that the Manhattan debut performance of their score will musically
tease out the similarities between the film’s bygone Weimar Berlin
and the lost Lower East Side of the performers’ vanished youth.
Ruttmann and company’s seminal, groundbreaking film is a valentine
to the ‘new’ Berlin of the late 1920s. Beginning at dawn and ending
after midnight, it shows Berliners hard at work by day and possessed
by the city’s thriving nightlife. Essentially a feature-length montage,
the film was heavily influenced by Soviet documentary experiments
like Dziga Vertov’s KINO-PRAVDA and was itself very influential in
fostering the ‘city symphony’ genre and other documentary hybrid
styles to come. This rare screening is not to be missed!
–Sun, May 12 at 8:00.
SPECIAL SCREENINGS
NEW YORK FLUXUS 1964-78 (Photo by Christopher Moore ©)
CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS:
Peggy Ahwesh & Keith Sanborn’s THE DEADMAN
CATALYSTS is a new series wherein avant-garde filmmakers reveal the secret sources and inspirations for a specific film from their body of work by a show-and-tell presentation
through readings, films, music, images, dreams, documents, private tales, or exhibits demonstrating the roots and branches of experimental personal cinema: Exegesis by demo.
Each invited artist will be asked to develop and deliver a presentation that gives the audience insight into their original research on the personal, cultural, or historical source
materials of the particular film being discussed. Each work chosen shall be rich in hybrid sources for a complex mixture of influences and inspirations.
Curated by Bradley Eros.
For this edition, Peggy Ahwesh and Keith Sanborn will explore the secret beatle messages and spiritual ambience which gave rise to their two-headed monster: THE DEADMAN.
Bataille, Hegel, Lacan, Goya, de Sade, Danish specialty porn, Bimbonic initiatic rites, and the Dionysian festival of the goat will be included in this ill-guided tour of the Pathosformeln
invoked in the making of the film.
THE DEADMAN
1990, 37 min, 16mm
A loose adaptation of Georges Bataille’s text of the same name. The protagonist, Marie, leaves the deathbed of her lover to explore to the limit her shattered identity. Neither
‘erotic’ nor ‘pornographic’ quite captures the sense of the agonistic limits she shatters in recollecting herself in confrontation with death. Nor is it a matter, for the filmmakers,
of style, but the embrace of something less amenable to direct description.
–Thurs, May 30 at 7:30.
SINGLE FRAME
This calendar offers a double dose of SINGLE FRAME, our regular series devoted to live slide projections.
Last December art historian Barbara Moore brought us an incredible overview of the 1960s
dance and performance scenes with a slide lecture using images by her late husband, the noted
photographer Peter Moore. It was so excellent that we have invited her back for another lecture
event focused entirely on the fun-loving Fluxus group. Our second presentation comes from Yuji
Agematsu, an insightful artist who specializes in a form of collage that involves archiving bits and
pieces of garbage. His evening will feature the premiere of a new multi-projector work that uses
rediscovered slides from a trip to France.
NEW YORK FLUXUS 1964-78
A slide lecture by Barbara Moore.
After its introduction in Europe (1962-63), Fluxus came to New York, its first major performances
taking place in Spring 1964 at George Maciunas’s loft on Canal Street. From that time until Maciunas’s
death in 1978, Peter Moore was the fly on the Fluxus wall, recording its ephemeral events
and non-events as part of his much larger documentation of 30 years in the development of performance
art. Once more mining the remarkable Peter Moore photographic archive, art historian
and writer Barbara Moore covers this thrillingly formative period with plentiful detail, personal
reminiscences, and a host of famous and never-before-publicly-shown photographs in vintage
slideshow format.
–Thurs, May 23 at 7:30.
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Yuji Agematsu
DISCOLORED PHOTOS, FADED THINGS
35 min, color slide show with three projectors; continuous loop of music played on several Sony CFD-E75 CD players
“One day I suddenly discovered old films and old Ziploc bag collections when I was putting artwork
in order at my studio. These were vestiges of my collection of trash from the streets and my collective
memory when I visited southern France, Marseille in the summer of 1994. On this occasion, I
would like to look back on my memories of this visit to Marseille and project them onto the screen.
I hope that looking back on the distant past can lead to a new beginning for me.” –Y.A.
–Wed, June 19 at 7:30.

UNBOUND
ABIGAIL CHILD’S ‘UNBOUND’ &
‘A SHAPE OF ERROR’
Anthology is pleased to present the NYC premieres of both Abigail Child’s new
feature film A SHAPE OF ERROR, and an expanded, ‘exploded’ version of the same
material, entitled UNBOUND.
“In Rome for a year at the American Academy, I created imaginary home movies
of scenes from the life of Mary and Percy Shelley. I was attracted to these authors
– their life of poetry, politics, and sexual invention – and inspired by my previous
fictionalizing of home movies in COVERT ACTION and THE FUTURE IS BEHIND YOU. I
worked with non-actors, the seasons, and the extraordinary architecture and landscapes
of Italy where the Shelleys were in exile for six of their eight years together.
The result was a feature film, A SHAPE OF ERROR, gorgeous, emotional, and
harnessed to the narrative. I wanted to go further and abetted by digital technology,
I have ‘exploded’ the film. The result is UNBOUND, digressive, looped, unpredictable,
symphonic, spontaneous, messy – like life and memory.” –A.C.
“So exuberant, so visually gorgeous…ahead of the curve…mixing narrative, avantgarde
and expanded cinema.” –Tina Wasserman
“[A]t once a mischievous scuttling of BBC costume drama and the creative anachronism
of home movies before the invention of film. The results are of a kind that only
Child could achieve: a playful mastery of form, and never-wavering attention to the
past’s connection with the present.” –Jim Supanick
UNBOUND
2012, 75 min, digital video. Music by Zeena Parkins.
The ‘exploded’ version of A SHAPE OF ERROR.
–Fri, May 31 at 7:30.
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A SHAPE OF ERROR
2012, 70 min, digital video. Music by Zeena Parkins.
–Sun, June 2 at 3:00.
UNESSENTIAL CINEMA PRESENTS:
REALLY BAD PRINTS
Free for AFA members!
Have you ever had the experience of going to a theater to see a classic old movie
only to find that they are showing a crappy battered print that has turned pink, is
held together by splicing tape, and seems to be missing footage? Doesn’t that suck?
If you answered yes, then you may not want to attend this potentially pathetic show
that features only awful copies of possibly great movies. For this edition of UNES-
SENTIAL CINEMA we are digging into our collection to resuscitate unprojectionable
and simply poor prints in order to remind ourselves about what exactly went wrong.
Expect sullied avant-garde classics, irreparable outtakes that should have been left
on the cutting room floor, and plenty of other unfortunate reels which have not stood
the test of time. And if you are lucky we’ll throw in some videos with major dropout
and other malfunctions. At Anthology we believe that if it can be projected, you will
see it.
–Thurs, June 6 at 7:30.
SPECIAL SCREENINGS
DARLING DO YOU LOVE ME
FREE SCREENING FOR
AFA MEMBERS ONLY:
RARE BRITISH FILMS – LINDSDAY ANDERSON, STEPHEN
FREARS, AND GERMAINE GREER
Once every calendar we offer a special, AFA Members-Only screening, featuring
sneak-previews of upcoming features, programs of rare materials from Anthology’s
collections, in-person filmmaker presentations, and more! The benefits of
an Anthology membership have always been plentiful: free admission to over 100
Essential Cinema programs, reduced admission to all other shows, discounted AFA
publications. But with these screenings – free and open only to members – we
sweeten the pot even further.
This calendar we present an eclectic program of rare British films from our own
collection, including a seldom-seen documentary by Lindsay Anderson (THIS
SPORTING LIFE, IF…), the debut film by Stephen Frears (MY BEAUTIFUL LAUN-
DRETTE, THE GRIFTERS), and a very short film starring renowned writer and feminist
pioneer Germaine Greer!
Lindsay Anderson
WAKEFIELD EXPRESS
1952, 33 min, 16mm, b&w
This early work by Anderson is a study of a traditional industrial community seen
through the columns of its local newspaper. It was intended to be a film showing how
the paper was printed, but Anderson produced a much more personal study of the
communal life of a group of towns in the West Riding area of Yorkshire.
Stephen Frears
THE BURNING
1967, 30 minutes, 16mm
With South Africa’s increasingly negative profile growing in the West, Frears chose
to make his debut film a fantasy projection about the first day of revolution in South
Africa.
Martin Sharp DARLING DO YOU LOVE ME 1968, 3 min, 16mm
With Germaine Greer.
Two years before the publication of her famous book THE FEMALE EUNUCH, Germaine
Greer starred in this darkly comic curio. Gleefully sending up the misogynist cliché of
the clingy girlfriend, the film plays with the gender stereotypes that Greer sought to
destroy in her pioneering written work.
Total running time: ca. 70 min.
–Thurs, June 20 at 7:30.
25

26
LA BELLE FLEUR
WORKS FROM THE NAKED
EYE CINEMA COLLECTION
Featuring appearances and production work by Gordon Stokes Kurtti.
Curated by Jack Waters. Filmmakers in person!
Gordon Stokes Kurtti (1960-87) was an American artist, writer, illustrator, and
performer, and a seminal fi gure in the early East Village art scene. Gordon was an
early collaborator on many experimental fi lm works by Carl George, Jack Waters,
Bradley Eros, Leslie Lowe, and Brad & Brian Taylor. He was a close companion and
a frequent collaborator on the early performance and installation works of Kembra
Pfahler. Kurtti, like most of his art friends, wore many hats, from cameraman to
set designer to lead actor. The preferred medium was Super-8mm fi lm, easily cut
and edited on a kitchen table. Budgets rarely exceeded a few hundred dollars and
screenings were organized through Naked Eye Cinema, then an extension of the
fi lm program at ABC No Rio, and now an archival section of Allied Productions, Inc.
An exhibition celebrating Kurtti’s life and work will take place at Participant Inc
(253 East Houston St.) from June 2-July 14; for more info visit: participantinc.org.
Gordon Kurtti’s life and work are the subject of an archival, preservation, and
distribution project by Allied Productions, made possible by the generous support
of Mary Jo and Ted Shen.
Carl Michael George LA BELLE FLEUR 1985, 13 min, Super-8mm
Carl Michael George THE LOST 40 DAYS
1986, 14 min, Super-8mm-to-16mm
Newly-preserved 16mm sound print blown-up from Super-8mm! Preservation made possible
by support from Allied Productions and the National Film Preservation Foundation. Now in the
permanent collection of the Library of Congress and Anthology Film Archives.
Peter Cramer PENNY CANDY 1985, 7 min, video
Jack Waters BRAINS BY REVLON 1986, 18 min, 16mm
Bradley Eros/Erotic Psyche HYSTÉRY 1985, 11 min, Super-8mm
Total running time: ca. 70 min.
–Fri, June 28 at 7:30.
SPECIAL SCREENINGS
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 fi lm- and video-making
efforts of AFA’s staff, friends, fellow-travelers, and devotees.
–Sun, June 30 at 8:00.
READ UP:
New and historical
publications are
available for purchase
at the box offi ce…
...as well as DVDs and
new AFA merchandise!

NEWFILMMAKERS PRESENTS A NIGHT OF
MIDDLE EASTERN FILMS
Curated by Moniere
–Sun, April 7, Middle East Program at 6:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTED BY DAILYMOTION
As one of the leading sites for sharing videos, Dailymotion attracts over 106 million
unique monthly visitors and 2 billion video views worldwide.
–Wed, April 10, Dailymotion Program at 6:00.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS NEW FILMS
DOCUMENTARY SERIES
Eran Barak
HUNTING TIME
2012, 53 min, video
FIRST SHORT FILM PROGRAM
Michael Martinez COURAGE (2012, 6 min, video)
Gene Gallagher ACCEPTANCE (2012, 26 min, video)
Jungho Park CREEP (2012, 18 min, video)
Ayse Nur Gencalp FORTY-FIVE (2012, 19 min, video)
SECOND SHORT FILM PROGRAM
Dennis Da Silva GUSTAV (2012, 9 min, video)
Sam Nulman NEON CELLULITE (2012, 26 min, video)
Tyler Rubenfeld VLOGGER (2012, 28 min, video)
NEWFILMMAKERS
NEWFILMMAKERS NY SERIES
Now celebrating its 15th year, 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 has screened over 750 features and 3,000 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 the University of North Carolina
School of the Arts.
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
Lili White, Women’s Programming
Brandon Ruckdashel, Marketing Director
Eric Norcross, Media Director
Barney Oldfield, Executive Producer
FEATURE PRESENTATION
CB Harding
COMPLICITY
2012, 82 min, video
A group of average high school kids attend a party, only to be tested on every moral
level. After making the most difficult decision of their lives, they proceed to hide the
evidence of their crime. But just when they think that all is finished, they are confronted
with an even more complicated situation.
–Wed, April 17, Documentary Series at 6:00, First Short Film
Program at 7:00, Second Short Film Program at 8:15, Feature at
9:30.
–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CELEBRATES MOTHERS DAY
EARLY
DOCUMENTARY SERIES
Fivel Rosenberg HOUSE DEVIL, STREET ANGEL (2012, 30 min, video)
Megan Corry THE SMELL OF SAND (2012, 19 min, video)
FIRST SHORT FILM PROGRAM
Alexandra Aron TWO ALTARS AND A CAVE (2012, 18 min, video)
Rachel Cole PREGNANT AND DYING (2012, 13 min, video)
Michael Martinez COURAGE (2012, 6 min, video)
Constantinos Yiallourides COMPULSION (2011, 16 min, video)
SECOND SHORT FILM PROGRAM
Yasmine Gomez TERRA COTTA (2011, 6 min, video)
Coralie Jeanquier ONE CITY NIGHT (2013, 27 min, video)
Felix Van Cleeff MY PERSONAL ANGEL (2013, 35 min, video)
27

FEATURE PRESENTATION
Daniel Schechter
SUPPORTING CHARACTERS
2011, 89 min, video
Two New York film editors balance their personal relationships
while reworking a movie in crisis.
–Wed, April 24, Documentary Series at
6:00, First Short Film Program at 7:00,
Second Short Film Program at 8:15,
Feature at 9:45.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWLATINO FILMMAKERS
PRESENTS OUR ANNUAL CINCO
DE MAYO SCREENING
Curated by Edward Pagan
–Wed, May 1, Documentary Series
at 6:00, Short Film Program at 7:00,
Feature at 8:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTED
BY DAILYMOTION
As one of the leading sites for sharing videos, Dailymotion
attracts over 106 million unique monthly visitors
and 2 billion video views worldwide.
–Wed, May 8, Daily Motion Program at
6:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS WELCOMES
BACK DIGITAL FILM ACADEMY
AS PART OF OUR COLLEGE
SCREENING SERIES
SHORT DOCUMENTARY SERIES
Wayne Thomas PASSION AND ACCEPTANCE: NATIONAL
GEOGRAPHIC PHOTOGRAPHER WILLIAM ALBERT
ALLARD (2012, 15 min, video)
Pegah Arzi K.O.B.R.A. (2012, 27 min, video)
Bob Jones FALLEN SOLDIER (2013, 14 min, video)
COLLEGE FILM PROGRAM
With Digital Film Academy
FEATURE PRESENTATION
Brendan Nagle
THE ESSENTIALS
2012, 90 min, video
Jim is a burnt-out ex-spy. After he goes rogue and
screws up yet again, his former agency must bail him
out, vowing that this favor will be his last. But in a refusal
to accept a forced retirement, Jim takes on a hot young
protégé to help him crack one last case.
–Wed, May 15, Documentary Series
at 6:00, College Film Program at 7:15,
Feature at 9:15.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS EXPLORES
RELATIONSHIPS BUT DON’T TRY
THEM AT HOME
EXPERIMENTAL DOCUMENTARY
SERIES
Cody Clarke
REHEARSALS
2012, 73 min, video
An experimental documentary in which fly-on-the-wall
footage of the lives of 16 women is collaged to form a
day in the life of one woman: an aspiring actress living
alone in NYC.
28
NEWFILMMAKERS
SECOND SHORT FILM PROGRAM
About relationships
Bea Song TU-NA HOUSE (2012, 9 min, video)
Dan Shapiro THE PUSSY (2012, 10 min, video)
Bryce Richardson CLOSING SHOP (2012, 15 min, video)
Tara Eve Davies COLOUR ME BRIGHT (2012, 6 min,
video)
Chris Dolman BOX (2012, 15 min, video)
Livia Aranha CHRISTIE (2012, 7 min, video)
Irina Varina A MEMORY (2012, 6 min, video)
FEATURE PRESENTATION
Daniel Berg
THE WAY OF GLASS
2012, 67 min, video
This adaptation of Salinger’s FRANNY AND ZOOEY looks
at a college girl in the midst of a spiritual breakdown.
–Wed, May 22, Documentary Series
at 6:00, Short Film Program at 7:30,
Feature at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS INTRODUCES
ITS FIRSTLOOK PROGRAM FOR
ROUGH CUT FILMS
DOCUMENTARY SERIES
Chyung Sun
THE PRICE OF PLEASURE
2007, 90 min, video
Once relegated to the margins of society, pornography
has emerged as one of the most visible and profitable
sectors of the cultural industries at the same time that
its content has become more overtly sexist and racist.
This eye-opening and disturbing film tackles this
seeming paradox.
EXPERIMENTAL SHORT FILM
PROGRAM
Peter Valente THE DESERTS OF LOVE (2012, 15 min,
video)
Jenny Plante THE SECOND NURSE (2013, 15 min, video)
Michael Reynolds RAIMONO’S RUXPIN (2012, 10 min,
video)
Joseph Dwyer THE DIDDLER (2012, 16 min, video)
FIRSTLOOK FEATURE PRESENTATION
FirstLook gives you the opportunity to see a rough cut
of a new film.
Doug Bollinger
GRAVEDIGGER
2012, video
A scary new feature recently shot in New Jersey, which
is already a scary place.
–Wed, May 29, Documentary Series
at 6:00, Short Film Program at 7:45,
Feature at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS
FILMS FROM OUR WOMEN’S
GROUP
DOCUMENTARY SERIES
Esther Podemski THE PEASANT AND THE PRIEST (2011,
47 min, video)
SPECIAL PROGRAM
With Women Filmmakers Group; curated by Lili White
FEATURE PRESENTATION
Bayley Sweitzer JULIAN’S AN ALIEN (2012, 25 min,
16mm)
&
Todd Tobias
I RAZOR
2012, 120 min, video
Gregory Fleer, a young scientist who has developed a
brain-altering substance called I Razor, is transformed
by his own experiment and must negotiate his way
through a world twisted beyond recognition by his
altered perceptions.
–Wed, June 5, Documentary Series at
6:00, Special Program at 7:00, Feature
at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS PRESENTS
NEW FILMS
DOCUMENTARY SERIES
Jyllian Gunther
THE NEW PUBLIC
2012, 87 min, video
As the Brooklyn Community Arts & Media School
prepares to open, Dr. James O’Brien, former D.J. and
point-guard-turned-first-time principal, and his faculty
of eight, take to the streets of Bed-Stuy to recruit
students. From the first day of school, the buzz from the
student body is that this is a dream come true. But as
the months go by, conflicts arise…
SHORT BROOKLYN FILM PROGRAM
Katie Breidenbach IN QUIETNESS & CONFIDENCE (2012,
5 min, video)
Garette Henson SHADES OF YELLOW (2012, 6 min, video)
Peter Valente 21ST CENTURY BARD (2012, 14 min, video)
E Lee Smith THUNDERBIRD’S NEST (2012, 11 min, video)
Augustin Doublet ADAM (2012, 27 min, video)
FEATURE PRESENTATION
Jonah Green
OTHER PEOPLE
2011, 92 min, video
Set in an airless NYC loft, this film follows four young
adults who lead a life sealed off from the rest of the city.
As the outside world creeps in, they are forced to see
their makeshift family for what it is: a house of cards
built on fear, loneliness and a shared sense of loss.
–Wed, June 12, Documentary Series
at 6:00, Short Film Program at 7:45,
Feature at 9:00.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
NEWFILMMAKERS CELEBRATES
MUSIC, MOVEMENT, AND
VISUAL ARTS
DOCUMENTARY SERIES
Blostein / Ehrlic CONDUCTING CHANGE (2011, 29 min,
video)
Edith Stephen SPLIT / SCREAM (2012, 35 min, video)
SHORT FILM PROGRAM
Francis DiClemente BLACK BOX (2012, 5 min, video)
Matthew Towers OPEN WINDOW (2012, 5 min, video)
Avivit Bar-Yosef BABY GRAND (2011, 12 min, video)
Lauren Ruth CULTIVATION (2012, 19 min, video)
Robert Li OBSERVE (2010, 8 min, video)
Chris Esper STILL LIFE (2012, 13 min, video)

FEATURE PRESENTATION
Staven Saylor
BODIES
2012, 109 min, video
A young writer becomes curious, then intrigued,
and fi nally obsessed with the strange behavior
of the woman next door. A police photographer
who shows work in galleries, this woman has
been spying on a seemingly unimportant man for
reasons the writer cannot fathom.
–Tues, June 18, Documentary Series
at 6:00, Short Film Program at
7:30, Feature at 9:00.
NEWFILMMAKERS / FESTIVALS
NEWFILMMAKERS CELEBRATES PRIDE WITH AN EVENING OF
GLBT FILMS
SPECIAL PROGRAM
With Third World Newsreel
FIRST SHORT FILM PROGRAM
Tulica Singh DREAM GIRL (2012, 6 min, video)
V R EXCITABILITY (2012, 35 min, video)
Jeff Luppino-Esposito GIFTED & TALENTED: A MUSICAL SHORT FILM (2013, 13 min, video)
SECOND SHORT FILM PROGRAM
Sasha Levinson THE MOMENT (2012, 7 min, video)
Daniel Leeds WANNABE (2012, 6 min, video)
André Callot HOTEL (2012, 24 min, video)
Andrew Nelson ANGEL (2012, 10 min, video)
Orit Ben-Shitrit VIVE LE CAPITAL (2012, 15 min, video)
NEWFILMMAKERS FEATURE PRESENTATION
Devin Leisher
WARP AND WEFT: A SNAPSHOT OF RAW DENIM IN THE UNITED STATES
2012, 71 min, video
Delves into the world of raw and selvage denim, and reveals the underground culture of people who swear
by this living, breathing, and evolving form of the most popular clothing items on earth: jeans.
–Wed, June 26, Special Program at 6:00, First Short Film Program at 7:00, Second
Short Film Program at 8:15, Feature at 9:30.
THE BICYCLE FILM FESTIVAL
June 28-30
The Bicycle Film Festival is a celebration of bicycles through fi lm, art, and music. Anthology Film Archives is the birthplace of the
Bicycle Film Festival and has been its home in New York for the past 13 years. Now in over 30 cities worldwide, there is nothing like the
BFF. For more info, please visit: www.bicyclefi lmfestival.com
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
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
29

30
10, June 21, 23, p. 21
AGEMATSU, YUJI, June 19, p. 24
AHWESH, PEGGY, May 30, p. 24
ANDERSON, LINDSAY, June 20, p. 25
ANDREI RUBLEV, Apr 12, 14, 27, p. 13
ANGEL TERMINATORS, Apr 20-21, p. 19
ANGER, KENNETH, Apr 27, p. 2
AUDER, MICHEL, Apr 14, p. 21
BAILLIE, BRUCE, Apr 28, p. 2
BATTLE FRONT FOR THE LIBERATION OF JAPAN, THE −
SUMMER IN SANRIZUKA, June 8, 14, p. 9
BENNING, JAMES, June 20, 23, p. 20
BERGMAN, INGMAR, May 23, 27, p. 14
BERLIN, SYMPHONY OF A CITY, May 12, p. 24
BICYCLE FILM FESTIVAL, THE, June 28-30, p. 29
BLONDE COBRA, Apr 29, p. 23
BOO-HOORAY, Apr 29, p. 23
BOTEY, MARIANA, Apr 19, p. 22
BRAKHAGE, STAN, Apr 21, 25, May 18-19, 25-26, p. 2-3, 22-23
BREER, ROBERT, June 29, p. 3
BRESSON, ROBERT, Apr 13, 16, p. 13
BROKEN ARROW, May 11, 14, p. 7
BROUGHTON, JAMES, June 29, p. 3
BURCKHARDT, RUDY, May 4, p. 23
BURNING, THE, June 20, p. 25
CARAX, LEOS, June 19, 22, 24, p. 20
CATALYSTS, May 30, p. 24
CATHERINE DE HEILBRONN, May 25, June 9, p. 14
CHAHINE, YOUSSEF, Apr 11, 15, 26, p. 13
CHILD, ABIGAIL, May 31, June 2, p. 25
CHO, SEOUNGHO, June 27, p. 12
CINEBEASTS, Apr 25, p. 23
CLEOPATRA, Apr 14, p. 21
CORNELL, JOSEPH, Apr 21, 25, June 30, p. 4, 22-23
COSMOPOLIS, June 19, 22, 24, p. 20
COWBOY, May 11, 13, 16, p. 7
CRAMER, PETER, June 28, p. 26
CRASH, June 22, 23, 25, p. 21
CRAWFORD, JANE, Apr 21, p. 22
CROCKWELL, DOUGLASS, Apr 28, p. 2
CRONENBERG, DAVID, June 19, 22-25, p. 20-21
CUMMINGS, KIM, June 25, p. 12
DAVES, DELMER, May 10-16, p. 7
DEADMAN, THE, May 30, p. 24
DECAMERON, THE, May 22, 26, 30, p. 14
DEROSA, FIORE, May 4, p. 23
DEVOTION: A FILM ABOUT OGAWA PRODUCTIONS,
June 16, p. 11
DOG STAR MAN, May 19, p. 3
APRIL - JUNE 2013 INDEX
DON QUIXOTE, May 24, 29, June 4, p. 14
DR. FANATIK, Apr 20, p. 22
DRAGON LIVES AGAIN, THE, Apr 19, 21, p. 19
DRIVEN (WITH KATHA WASHBURN), June 22, p. 21
DRIVER, MARTHA, Apr 11-27, May 22-June 9, p. 13-14
ENDO, MAIKO, June 21-27, p. 5
EROS, BRADLEY, May 30, June 28, p. 24, 26
FIORE, ROBERT, Apr 21, p. 22
FISHER, MORGAN, June 20, 23, p. 20
FLAMING CREATURES, Apr 29, p. 23
FLUXUS, May 23, p. 24
FOREST OF OPPRESSION, June 7, 13, p. 9
FRAGMENTS OF KUBELKA, May 3-9, p. 4
FREARS, STEPHEN, June 20, p. 25
GEORGE, CARL MICHAEL, June 28, p. 26
GLOBAL FILM INITIATIVE, May 31-June 6, p. 5
GORDON, BETTE, June 20, 23, p. 20
GREER, GERMAINE, June 20, p. 25
HAMMER, BARBARA, June 16, p. 11
HILLS, HENRY, May 4, p. 23
HOLT, NANCY, Apr 21, p. 22
HOLY MOTORS, June 19, 22, 24, p. 20
HUSTON, JOHN, Apr 14, 16, p. 13
IDEAS CITY 2013, May 4, p. 23
IN MONTAUK, June 25, p. 12
JACOBS, KEN, Apr 21, 29, May 4, 24-26, p. 8, 22-3
JAPAN FOUNDATION, THE, June 7-18, p. 9-11
JOAN THE MAID, Apr 13, 17-18, p. 13
KAUFMAN, GITA & CURT, Apr 23, p. 12
KIAROSTAMI, ABBAS, June 21, 23, p. 21
KOZINTSEV, GRIGORI, May 24, 29, June 4, p. 14
KUBELKA, PETER, May 3-9, p. 2, 4
KUDLÁČEK, MARTINA, May 3-9, p. 4
KUENSTLER, FRANK, Apr 25, p. 23
KUICHISAN, June 21-27, p. 5
KUNG FU FEST, Apr 19-21, p. 19
KURONEKO, May 25, 29, June 2, p. 14
KURTTI, GORDON STOKES, June 28, p. 26
LAGRANGE, YVAN, May 26, June 4, p. 14
LAGRAVA, LORENZO, Apr 20, p. 22
LAST WAGON, THE, May 11, 16, p. 7
LAU, KAR-WING, Apr 19, 21, p. 19
LEGEND OF SURAM FORTRESS, May 22, 27, June 3,
p. 14
LESLIE, ALFRED, June 20, 23, p. 20
LESTER, RICHARD, May 24, 28, June 3, p. 14
LEVINE, SAUL, June 22, p. 21
LIU, GORDON, Apr 19-20, p. 19
LORD, CHIP, June 20, p. 20

MAGINO VILLAGE − A TALE, June 11, 16, p. 10
MAGINO VILLAGE STORY, THE − RAISING SILKWORMS,
June 9, 17, p. 10
MARGOLLES, TERESA, Apr 20, p. 22
MARKÉTA LAZAROVÁ, May 26, p. 14
MATTA-CLARK, GORDON, Apr 21, p. 22
MCCALL, ANTHONY, Apr 21, p. 22
MEAD, TAYLOR, Apr 14, p. 21
MEKAS, JONAS, Apr 25-May 2, p. 4
MEMBERS-ONLY SCREENING, June 20, p. 25
MENKEN, MARIE, May 4, p. 23
MIZOGUCHI, KENJI, May 23, 28, 30, p. 14
MOORE, BARBARA, May 23, p. 24
MOTORIST, June 20, p. 20
MOVIE CAPITAL, A, June 12, 17, p. 10
MY HUSTLER, Apr 21, p. 2
NAKED EYE CINEMA, June 28, p. 26
NEWFILMMAKERS, April 7, 10, 17, 24, May 1, 8, 15, 22, 29,
June 5, 12, 18, 26, p. 27-29
NEW YORK ASIAN FILM FESTIVAL, Apr 19-21, p. 19
NEW YORK WOMEN IN FILM & TELEVISION,
Apr 23, May 28, June 25, p. 12
NICOLAYEVSKY, RICARDO, Apr 19, p. 22
“NIPPON”: FURUYASHIKI VILLAGE, June 10, 18, p. 10
ODD COUPLE, THE, Apr 19, 21, p. 19
OGAWA, SHINSUKE, June 7-18, p. 9-11
OMIRBAYEV, DAREZHEN, May 31-June 6, p. 5
ONIBABA, May 25, June 1, 9, p. 14
OUT-TAKES FROM THE LIFE OF A HAPPY MAN,
Apr 25-May 2, p. 4
PARADJANOV, SERGEI, May 22, 27, June 3, p. 14
PASOLINI, PIER PAOLO, May 22, 26, 30, p. 14
PITTSBURGH TRILOGY, THE, May 26, p. 3
PRIDE OF THE MARINES, May 10, 12, 14, p. 7
PROPHECY OF THE SEERESS, THE, May 28, p. 12
QUICK BILLY, Apr 28, p. 2
RAZO, VINCENTE, Apr 19, p. 22
RED HOUSE, THE, May 10, 13, p. 7
RED PERSIMMONS, June 12, 14, p. 10
RED SPELL SPELLS RED, Apr 20-21, p. 19
REPORT FROM HANEDA, June 8, p. 9
RIVETTE, JACQUES, Apr 13, 17-18, p. 13
ROBIN AND MARIAN, May 24, 28, June 3, p. 14
ROHMER, ERIC, May 25, June 9, p. 14
ROSE HOBART, June 30, p. 4
RUTTMANN, WALTER, May 12, p. 24
SALADIN, Apr 11, 15, 26, p. 13
SANBORN, KEITH, May 30, p. 24
SANRIZUKA − HETA VILLAGE, June 9, 15, p. 10
SANRIZUKA − PEASANTS OF THE SECOND FORTRESS,
June 8, 15, p. 10
SANRIZUKA − THE SKIES OF MAY, June 9, p. 10
SANRIZUKA − THE THREE DAY WAR, June 8, 15, p. 9
SANSHO THE BAILIFF, May 23, 28, 30, p. 14
SCHAPIRA, LAURIE LAYTON, May 28, p. 12
SCHÜPBACH, HANNES, Apr 11, p. 11
SCORPIO RISING, Apr 27, p. 2
SEA OF YOUTH, June 7, 13, p. 9
SECRET LIFE OF… AFA, THE, June 30, p. 26
SEGURA, JOAQUIN, Apr 20, p. 22
SENKO, JEN, May 4, p. 23
SERRA, MM, May 4, p. 23
SHADOWS FROM MY PAST, Apr 23, p. 12
SHAPE OF ERROR, A, June 2, p. 25
SHAOLIN AND WU-TANG, Apr 19-20, p. 19
SHAOLIN TEMPLE AGAINST LAMA, Apr 20-21, p. 19
SHINDO, KANETO, May 25, 29, June 1-2, 9, p. 14
SHOW & TELL, Apr 11, May 17-18, June 27, p. 11-12
SILVER, SHELLY, May 17-18, p. 11-12
SINGLE FRAME, May 23, June 19, p. 24
SMITH, JACK, Apr 29, p. 23
SMITHSON, ROBERT, Apr 21, p. 22
SONG OF THE BOTTOM, A, June 9, 16, p. 10
SONGS 1-14, May 19, p. 3
SOGO, STOM, Apr 5-7, p. 6
SPIN/VERSO/CONTOUR, Apr 11, p. 11
STUDENT, May 31-June 6, p. 5
TARKOVSKY, ANDREI, Apr 12, 14, 27, p. 13
TASTE OF CHERRY, June 21, 23, p. 21
TEXT OF LIGHT, THE, May 25, p. 3
THREE SISTERS, May 10-16, p. 5
TRIAL OF JOAN OF ARC, THE, Apr 13, 16, p. 13
TRISTAN AND ISOLDE, May 26, June 4, p. 14
UNBOUND, May 31, p. 25
UNESSENTIAL CINEMA, June 6, p. 25
VALENTIN, KARL, Apr 7, p. 2
VANISHING CITY, THE, May 4, p. 23
VIGO, JEAN, Apr 7, p. 2
VIRGIN SPRING, THE, May 23, 27, p. 14
VISIT TO OGAWA PRODUCTIONS, A, June 15, p. 11
VLÁCIL, FRANTISEK, May 26, p. 14
WAKEFIELD EXPRESS, June 20, p. 25
WALK WITH LOVE AND DEATH, A, Apr 14, 16, p. 13
WANG, BING, May 10-16, p. 5
WARHOL, ANDY, Apr 21, p. 2
WATERS, JACK, June 28, p. 26
WHITNEY, JOHN & JAMES, Apr 21, p. 2
ZEDD, NICK, Apr 19-20, p. 22
ZERO FOR CONDUCT, Apr 7, p. 2
31

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MEMBERSHIP AT ANTHOLOGY
MEMBERSHIP LEVELS:
Individual $60
Student (w/ ID) $40
Senior (65+) $40
Dual $90
Contributor $125
Donor $250
Sponsor $500
Preservation Donor $1000
BENEFITS:
__ $60 Individual ___ $40 Senior/Student (w/ID) ___ $90 Dual
__ $500 Sponsor __ $250 Donor __$125 Contributor
__ $1000 Preservation Donor w/Seat Plate Dedication
• FREE admission to all Essential Cinema
screenings
• FREE and exclusive permission to
MEMBERS ONLY screenings
• Reduced admission to all regular
programs—members pay only $6!
• Reservation privileges for you and a guest
• Plus more!
SAVE MONEY! HELP ANTHOLOGY!! JOIN TODAY!!!
ONLINE: anthologyfi lmarchives.org/support
BY PHONE: (212) 505-5181 x14
BY MAIL: Send form below with a check to:
Membership / Anthology Film Archives /
32 Second Ave / New York, NY 10003
ANTHOLOGY MEMBERSHIP FORM
__ $2500 Archival Donor: Donors of $2500 or more can receive a limited-edition 16MM PRINT OF THE FILM
“4A”, made specially for Anthology Film Archives by STAN BRAKHAGE.
__ Other Amount $ _______
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ANTHOLOGY FILM ARCHIVES
BENEFIT ART PROJECT
NEW ARTWORKS BY JOHN BALDESSARI AND
SHINGO FRANCIS NOW AVAILABLE!
John Baldessari
How to Make a Film (Edit), 1973/2011
One-color screenprint on Muscletone White
20 x 20 inches
Published by Anthology Film Archives
Printed by Axelle Fine Arts, NY, 2012
Edition of 35, 15 AP, 2 PP
Anthology Film Archives is thrilled to announce the publication of these
brand-new, limited-edition prints donated by John Baldessari and Shingo Francis
to help us survive and thrive! These works are the latest in our Benefit Art Project,
following wonderful new editions by Robert Polidori, Martin Puryear, and Martha
Colburn.
Anthology’s Benefit Art project began over thirty years ago with the publication
of two stellar portfolios – one of fine art prints, and one of photographs –
commissioned in 1982 to fund the renovation of our Second Avenue Courthouse
building.
All purchases directly support Anthology’s vibrant, but lean, film exhibition and
preservation programs; we thank the artists for their very generous donations.
For a full list of available works, please visit anthologyart.org.
Shingo Francis
Untitled, 2012
Lithograph
19.5 x 14.75 inches
Published by Anthology Film Archives
Printed by Robert Blackburn Printmaking Workshop, NY,
2012
Edition of 35, 3 AP, 1 PP
To purchase or reserve prints today, please call John Mhiripiri, Director
at (212) 505-5181 x11, or email john@anthologyfilmarchives.org.

ANTHOLOGY
New York, NY 10003
F I L M A R C H I V E S 32 Second Avenue
Dated Material
ABOUT ANTHOLOGY FILM ARCHIVES
Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a special emphasis on
alternative, avant-garde, independent productions and the classics. Anthology is a member of FIAF, the International Federation of Film
Archives and AMIA, the Association of Moving Image Archivists.
BRIEF HISTORY OF THE ORGANIZATION
Anthology Film Archives opened on November 30, 1970, at Joseph Papp’s Public Theater. In 1973 it relocated to 80 Wooster Street. Pressed
by the need for adequate space, in late 1979 it acquired Manhattan’s Second Avenue Courthouse building. After an extensive renovation,
the building was adapted in the mid-1980s to house two motion picture theaters, a reference library, a film preservation department,
administrative offices, and an art gallery. Anthology opened at its current location on October 12, 1988.
EXHIBITION PROGRAM
Our theaters are equipped with 35mm, 16mm, 8mm, Super-8mm, and video projection. Besides the daily screenings of new and classic
works programmed by the staff, Anthology is a home to many guest curators and film festivals. Anthology’s programming is unusually rich
and varied. Individual retrospectives, special national and minority surveys, and thematic festivals are exhibited regularly.
ESSENTIAL CINEMA REPERTORY COLLECTION
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 the 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.
REFERENCE LIBRARY
Anthology’s reference library contains the world’s largest collection of materials documenting the history of American and international avantgarde/independent
film and video. The holdings include books, periodicals, photographs, posters, recordings of lectures and interviews,
distribution and festival catalogs, as well as files on individual filmmakers and organizations. The files contain original documents, manuscripts,
letters, scripts, notebooks, clippings, and other ephemera. We are now working to make much of these unique materials available online.
FILM PRESERVATION
Anthology has also saved tens of thousands of films from disposal and disintegration, principally by housing materials in our historic East
Village Courthouse building. We have been steadfastly committed to the preservation and exhibition of work by the most important
American independent and experimental filmmakers of the last half-century. Films preserved by Anthology—over 900 to date—include
those of Stan Brakhage, Joseph Cornell, Maya Deren, Bruce Baillie, Jordan Belson, George & Mike Kuchar, Paul Sharits, and Harry Smith,
among many others.
Cover by Harmony Korine, 2012, all rights reserved.
Directions
Subway: F train to 2 nd Avenue, walk two blocks north on
2 nd Avenue to 2 nd Street.
#6 to Bleecker St., walk one block North on Lafayette, two
blocks east on Bond St. (turns into 2 nd St.) to 2 nd Avenue.
Bus: M15 to 3 rd Street.
Administrative Office Hours: Mon-Fri 10:30–6:30
Tel: 212.505.5181
Fax: 212.477.2714
Ticket Prices
$10 General
$8 Essential Cinema (Free for members)
$8 Students & Seniors
$6 AFA Members & Children (12 & under)
Anthology Film Archives is a 501(c)(3) non-profit organization.
Become a Member!
Help Anthology by becoming a member. Membership benefits include:
reserved tickets for you and a guest over the phone, free admission to all
Essential Cinema screenings, reduced admission for all public programs,
admission to special Members Only screenings of rare films from the
archives, 20% off Anthology publications, and first-class delivery of our
quarterly program calendar. Please send your check attn.: Membership,
or visit the website to become a member, or call 212-505-5181 x10.
$15 Calendar Subscription
$40 Student/Senior
$60 Individual
$90 Dual
$125 Contributor
$250 Donor
$1,000 Preservation Donor
$2,500 Archival Donor
$10,000 Partner
$50,000 Leadership Circle
FOR SCHEDULE INFO AND MORE: www.anthologyfilmarchives.org