Anthology Film Archives

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)
THIGH LINE LYRE TRIANGULAR (1961, 9 min, 16mm)
MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.)
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. 85 min.

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All films are silent.
THE WEIR-FALCON SAGA (1970, 29 min, 16mm)
THE MACHINE OF EDEN (1970, 11 min, 16mm)
SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.)
ANGELS’ (1971, 2 min, 16mm)
DOOR (1971, 4 min, 16mm)
WESTERN HISTORY (1971, 8 min, 16mm)
THE PEACEABLE KINGDOM (1971, 8 min, 16mm)
Total running time: ca. 75 min.

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“DOG STAR MAN elaborates in mythic, almost systematic terms, the worldview of [Brakhage’s] lyrical films. More than any other work of the American avant-garde film, it stations itself within the rhetoric of Romanticism, describing the birth of consciousness, the cycle of the seasons, man’s struggle with nature, and sexual balance in the visual evocation of a fallen titan bearing the cosmic name of the Dog Star Man.” –P. Adams Sitney, VISIONARY FILM

“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

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Unless otherwise noted, all films are silent.
THE DEAD (1960, 11 min, 16mm)
PASHT (1965, 5 min, 16mm)
THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN (1965, 10 min, 16mm)
FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound)
THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)
Total running time: ca. 60 min.

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Stan Brakhage
SONGS 1-14
1964-65, ca. 53 min, 8mm-to-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.” –Stan Brakhage

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“SONG 15: FIFTEEN SONG TRAITS: A series of individual portraits of friends and family – Robert Creeley, Michael McClure, Ed Dorn, Jonas Mekas, others. SONG 16: A flowering of sex as in the mind’s eye, a joy. SONGS 17 & 18: The movie house cathedral and a singular room. SONGS 19 & 20: Women dancing and a light. SONGS 21 & 22: Two views of closed-eye vision.” –Stan Brakhage

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“The furthest that Brakhage came in extending the language of 8mm cinema was his editing of 23RD PSALM BRANCH... the phenomenal and painstaking craftsmanship of this film reflects the intensity of the obsession with which its theme grasped his mind. In 1966, out of confusion about the Vietnam War and the American reaction to it, Brakhage began to meditate on the nature of war... the fruit of his studies and thoughts was the longest and most important of the songs... it is an apocalypse of imagination.” –P. Adams Sitney, VISIONARY FILM.

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REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

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SONGS 24-26 (1967/85, 15 min, 8mm-to-16mm)
MY MOUNTAIN: SONG 27 (1968, 25 min, 8mm-to-16mm)
MY MOUNTAIN: SONG 27: PART 2: RIVERS (1969, 33 min, 8mm-to-16mm)
SONGS 28-29 (1966/86, 21 min, 8mm-to-16mm)
“SONGS 24 & 25: A naked boy and flute song; a being about nature. SONG 26: a ‘conversation piece’ – a vis-à-visual, inspired by the (e)motional properties of talk: drone, bird-like twitterings, statement terror & bombast. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage

Total running time: ca. 100 min.

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REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm
SEXUAL MEDITATION: ROOM WITH A VIEW 1971, 4 min, 16mm. Preserved by Anthology Film Archives.
THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm
THE WOLD-SHADOW 1972, 3 min, 16mm
THE RIDDLE OF LUMEN 1972, 14 min, 16mm
SINCERITY: REEL NO. 1 1973, 27 min, 16mm

Total running time: ca. 95 min.

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Preserved by Anthology Film Archives.

“All that is, is light.” –Johannes Scotus Erigena

“[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM

CLICK HERE TO BUY TICKETS NOW! 

REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

“Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage

CLICK HERE TO BUY TICKETS NOW! 

REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

Preserved by Anthology Film Archives.

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.” –Stan Brakhage

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.’” –Stan Brakhage

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.

CLICK HERE TO BUY TICKETS NOW! 

REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

REVIVAL RUN – BRAND NEW RESTORATION!

With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.

Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.

A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!

CLICK HERE TO BUY TICKETS NOW!

With the exception of MOTION PICTURES NO. 1, PAT’S BIRTHDAY, BREATHING, and 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.

FORM PHASES I (1952, 2 min, 16mm)
FORM PHASES II (1953, 2 min, 16mm)
RECREATION (1956, 1.5 min, 16mm-to-35mm)
MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent)
JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm)
EYEWASH (1959, 3 min, 16mm-to-35mm)
BLAZES (1961, 3 min, 16mm-to-35mm)
PAT’S BIRTHDAY (1962, 13 min, 16mm, b&w)
BREATHING (1963, 5 min, 35mm, b&w)
FIST FIGHT (1964, 9 min, 16mm-to-35mm)
66 (1966, 5.5 min, 16mm-to-35mm)
69 (1969, 4.5 min, 16mm-to-35mm)
70 (1970, 5 min, 16mm-to-35mm)
GULLS AND BUOYS (1972, 8 min, 16mm)
FUJI (1974, 9 min, 16mm-to-35mm)
“Roughly speaking [Breer’s] works belong to that category of films generally called ‘abstract’ (though his are also highly ‘concrete’), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents.” – Noël Burch, FILM QUARTERLY

Total running time: ca. 85 min.

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(LE JOURNAL D’UN CURÉ DE CAMPAGNE)

“Consistent with Bresson’s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist’s death. […] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.” –Tony Pipolo, ARTFORUM

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BOOK RELEASE EVENT!

Corita Kent, formerly Sister Mary Corita, is widely known for her exuberant serigraphs, inspired teaching methods, and lively art classes at Los Angeles’s Immaculate Heart College art department in the 1950s and 1960s. Corita was an enthusiastic photographer who shot thousands of 35mm slides documenting the art department’s activities, the urban landscape of Los Angeles, advertising, supermarkets, cookies, coke bottles, experiments, flowers, folk art, visits with Charles and Ray Eames, street signs, kites, and much more. The new book, “Ordinary Things Will Be Signs for Us” – edited by Julie Ault, Jason Fulford, and Jordan Weitzman, and published by J&L Books and Magic Hour Press – combines over 300 of Corita’s photos, annotated with excerpts from her writings and interviews.

To celebrate the release of “Ordinary Things Will Be Signs for Us”, two rarely-seen short films about Corita will be screened. The event will be hosted by the book’s editors, Ault, Fulford, and Weitzman, as well as contributor Olivian Cha, of the Corita Art Center, and will be followed by a reception. Books will be available to purchase.

Special thanks to Olivian Cha & Nellie Scott (Corita Art Center); and Baylis & Aaron Glascock.

Baylis Glascock
WE HAVE NO ART
1967, 26 min, 16mm
Glascock, a former student of Corita, presents an extraordinary view of her life as a teacher at Immaculate Heart College, where she taught from 1947 to 1968. Featuring rare footage of Corita with her students – engaged in everything from composing the iconic Ten Rules to taking “viewfinder” field trips to the tire store – this short film provides insight into her unique approach to teaching and art.

Thomas Conrad
ALLELUIA
1967, 23 min, 16mm-to-digital
Conrad, another former student of Corita, subtitled ALLELUIA, “Being a true account of the life and times of Sister Mary Corita, IHM.” Accompanied by the artist’s narration, the film offers a rare glimpse into Corita’s serigraphy studio and artmaking process.

SOLD OUT!

(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)

With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.

CLICK HERE TO BUY TICKETS NOW! 

A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.

CLICK HERE TO BUY TICKETS NOW! 

“Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man’s life is seen through his eyes – he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.” –NEW YORK FILM FESTIVAL

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SPECIAL SCREENING!
Anthology Film Archives and the Estate of Ernie Kovacs join forces to celebrate the publication of “Ernie in Kovacsland: Writings, Drawings, and Photographs from Television’s Original Genius” (Fantagraphics), with an evening featuring a program of highlights from Kovacs’s TV career.

The influence of Kovacs’s highly visual and often patently surreal and Dada-esque comedic aesthetic can be seen not only in his offbeat sensibility but also in his radical editing and special effects techniques. Kovacs’s mark is apparent in everything from MONTY PYTHON’S FLYING CIRCUS, MYSTERY SCIENCE THEATER, PEE-WEE’S PLAYHOUSE, KIDS IN THE HALL, and TIM AND ERIC AWESOME SHOW, GREAT JOB!, to the work of experimental film- and video-makers such as Owen Land, William Wegman, Michael Smith, Trisha Baga, and many, many others. Ernie Kovacs utilized the “vision” in “television” more than any other comedian on TV in the 1950s and early 1960s. Surprisingly, having no nightclub background and having come from radio, his leap to television in 1950 unleashed a uniquely cinematic approach to comedy at a time when all TV was broadcast live. Kovacs was never popular enough to have a hit show but had a loyal following that allowed him to stay on the air, bouncing from network to network throughout his career from 1950-62. His body of work was cut short when he died in a car crash at age 42, but his impact remains immeasurable across the realms of television, comedy, and experimental media.
For the Anthology evening, we’ll be focusing on some of the sketches and “sound-into-sight” music pieces that showcase Kovacs’s cinematic uses of the television medium as a canvas for his uniquely absurdist humor. The program will be hosted by the co-authors/editors/collaborators of “Ernie in Kovacsland”: Josh Mills, executor of the Kovacs estate and son of Edie Adams; and Ben Model, the archivist of the Ernie Kovacs/Edie Adams collection; and will feature a panel comprising Mills; Model; television writer, author, playwright, and screenwriter Alan Zweibel (Saturday Night Live; It’s Garry Shandling’s Show; Curb Your Enthusiasm); television critic David Bianculli (NPR’s “Fresh Air”); and author, MIT Professor, and media historian Heather Hendershot (“When the News Broke: Chicago 1968 and the Polarizing of America”).

CLICK HERE TO BUY TICKETS NOW!

Bresson’s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens’s children. The joys and terrors of youth are conveyed without condescension.

CLICK HERE TO BUY TICKETS NOW!

(LE JOURNAL D’UN CURÉ DE CAMPAGNE)

“Consistent with Bresson’s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist’s death. […] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.” –Tony Pipolo, ARTFORUM

CLICK HERE TO BUY TICKETS NOW! 

(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)

With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.

CLICK HERE TO BUY TICKETS NOW! 

A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.

CLICK HERE TO BUY TICKETS NOW! 

“Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man’s life is seen through his eyes – he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.” –NEW YORK FILM FESTIVAL

CLICK HERE TO BUY TICKETS NOW! 

SINGING IN OBLIVION 2021, 13 min, 35mm
ASTOR PLACE 1997, 10 min, 16mm, silent
SELF-EXAMINATION REMOTE CONTROL 1981/2009, 5 min, Super-8mm-to-35mm
RUBY SKIN 2005, 4.5 min, 16mm
LAST LOST 1996, 14 min, 16mm
CREME 21 2013, 10 min, DCP
HER GLACIAL SPEED 2001, 4 min, 16mm, silent
BEHIND THIS SOFT ECLIPSE 2004, 10 min, 16mm, silent
SINGING IN OBLIVION 2021, 13 min, 35mm [repeat]

Total running time: ca. 90 min.

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Bresson’s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens’s children. The joys and terrors of youth are conveyed without condescension.

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(LE JOURNAL D’UN CURÉ DE CAMPAGNE)

“Consistent with Bresson’s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist’s death. […] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.” –Tony Pipolo, ARTFORUM

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SINGING IN OBLIVION 2021, 13 min, 35mm
ASTOR PLACE 1997, 10 min, 16mm, silent
SELF-EXAMINATION REMOTE CONTROL 1981/2009, 5 min, Super-8mm-to-35mm
RUBY SKIN 2005, 4.5 min, 16mm
LAST LOST 1996, 14 min, 16mm
CREME 21 2013, 10 min, DCP
HER GLACIAL SPEED 2001, 4 min, 16mm, silent
BEHIND THIS SOFT ECLIPSE 2004, 10 min, 16mm, silent
SINGING IN OBLIVION 2021, 13 min, 35mm [repeat]

Total running time: ca. 90 min.

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Marketed as part of Roger Corman’s extraordinary “Edgar Allan Poe” cycle, THE HAUNTED PALACE shares those films’ mastery of low-budget horror, impressively resourceful cinematic flair, and inimitable combination of tongue-in-cheek humor and genuinely uncanny power – but despite taking its title from Poe’s 1839 poem, the film is in fact based on Lovecraft’s novella, “The Case of Charles Dexter Ward” (written in 1927, but only published posthumously, in 1941). As such, it qualifies as the very first big-screen adaptation of Lovecraft’s work. Provenance aside, it’s a peerlessly entertaining film, with a deliciously double-trouble performance by Vincent Price as both the protagonist Ward and his ancestor Joseph Curwen, a necromancer burned alive over a century earlier.

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(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)

With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.

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Richard Chamberlain stars as Australian lawyer David Burton, who takes on the defense of a group of aborigines accused of killing one of their own. He suspects the victim has been killed for violating a tribal taboo, but the defendants deny any tribal association. Burton, plagued by apocalyptic visions of water, slowly realizes his own involvement with the aborigines…and their prophecies. No less an authority than Lovecraft biographer S. T. Joshi has repeatedly identified THE LAST WAVE as one of his favorite Lovecraft-ian films.

“[F]ilms that do not purport to adapt a specific Lovecraft story have been far more successful than the actual Lovecraft adaptations. Consider Peter Weir’s masterful THE LAST WAVE, a film that brilliantly utilizes such Mythos icons as ancient gods dwelling under the earth, their influence on human beings through dreams, and the like. Set in Australia, the film comprises a magnificent, if loose, adaptation of ‘The Shadow out of Time’, although Weir has never explicitly identified Lovecraft as a source.” –S. T. Joshi, “The Cthulhu Mythos”

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A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.

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“Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man’s life is seen through his eyes – he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.” –NEW YORK FILM FESTIVAL

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“Written by Nigel Kneale of QUATERMASS fame, THE STONE TAPE is another intense ghost story. First broadcast in 1972, and marrying science-fiction and the supernatural, it tells the story of a pioneering electronics company moving into its new research facility, a renovated Victorian mansion, only to discover that builders have refused to work in one particular room. Empty apart from a child’s letter to Santa (‘What I want for Christmas is please go away’), it transpires that this room is haunted by the ghost of a servant girl. Rather than running for their lives, the boffins regard her as a scientific breakthrough: a mass of data ripe for analysis with their cutting-edge recording equipment. Naturally, their interference proves rather unwise. Aided by…an extraordinary soundtrack from the BBC’s legendary Radiophonic Workshop (a gurgling soup of growls, scratches and harrowing screams).” –Paul Whitelaw, THE GUARDIAN

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Bresson’s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens’s children. The joys and terrors of youth are conveyed without condescension.

CLICK HERE TO BUY TICKETS NOW!

“Combine the literary elements of H.P. Lovecraft’s ‘The Shadow Over Innsmouth’ and Arthur Machen’s ‘The White People’ with the films THE NIGHT OF THE HUNTER and COUNT YORGA, and you might get this low, low-budget film by first-time director Richard Blackburn (better known for his writing credit on EATING RAOUL).” –Andrew Migliore & John Strysik, THE LURKER IN THE LOBBY: A GUIDE TO THE CINEMA OF H.P. LOVECRAFT

Richard Blackburn will be here in person following the screening on Sat, Oct 28, for a Q&A moderated by filmmaker Owen Kline!

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The films featured here are distinguished by the inspired moments and “mistakes” unconsciously (or presumably accidentally) recorded by their makers, which result in poetic, dreamscape illusions that are both artful and insightful. The program features the films of the Englert family, Charles H. Grimm, Judith Hammer, the Kaiser & Schumacher family, Leonard Wood Sizemore, the Vázquez family, and Garmon Winckler.

8mm and 16mm film, color, b&w, silent, sound. Digitized to standard definition, high definition, and 2K resolution with a newly composed score by Matt Pond and Chris Hansen.

Total running time: ca. 60 min.

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Things have been weird since Charlie’s boyfriend Chris left. They’re about to get weirder. Unable to sleep or successfully masturbate to his straight neighbors’ sex noises, Charlie (Dan Futterman) heads out into the Village where he has a series of eerie run-ins with people who seem like they’ve stepped out of popular urban legends. In between encounters with these oddballs, Charlie leaves messages for his ex (Matt Keeslar), visits a sick friend (Alan Cumming), and kills time with a bartender (Josh Hamilton), until he finally connects with a very unlikely romantic interest: a homophobic straight guy who doesn’t seem to realize Charlie’s gay. As the night goes on Charlie’s past begins to catch up with him as the bromance gives way to something much more dangerous. When it was released in 2000, actor-director Jon Shear’s URBANIA was hailed by critics and gay audiences as a smart, forward-thinking gay thriller, racking up prizes at festivals and winding up on over 35 publications’ best-films-of-the-year lists. But it sadly hasn’t made it back to the big screen in New York since then. Our screening represents a long-overdue chance for audiences to revisit Shear’s great film, or experience its off-kilter thrills for the first time. We’ll be joined by the director himself for a post-screening Q&A!

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“It has been compared to the works of Bergman, Bava and Argento – and it remains one of the most spectacular and original horror films of the fin-de-millénaire. Mariano Baino’s groundbreaking debut feature stars Louise Salter as a young Englishwoman drawn to an island in the Black Sea in an attempt to discover her mysterious connection to a remote convent – a crumbling edifice that has been constructed over a labyrinth of Lovecraftian horrors. There, she will unlock dark family secrets and uncover remnants of a suppressed pagan past that is quite literally leaking into the present, threatening to burst through with apocalyptic force at any moment.” –SLASH FILM FESTIVAL

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Celebrated as the screenwriter of John Carpenter’s DARK STAR, Ridley Scott’s ALIEN, Tobe Hooper’s LIFEFORCE, and Paul Verhoeven’s TOTAL RECALL, the great Dan O’Bannon directed only two feature films: THE RETURN OF THE LIVING DEAD (1985) and THE RESURRECTED (1991), an adaptation of Lovecraft’s novella “The Case of Charles Dexter Ward”. Despite undergoing a substantial edit at the hands of its producers, against O’Bannon’s wishes, THE RESURRECTED is a truly underrated film, with a genuine feel for Lovecraft’s sensibility and a memorable performance from Chris Sarandon (DOG DAY AFTERNOON, THE PRINCESS BRIDE).

“The best serious Lovecraftian screen adaptation to date, with a solid cast, decent script, inventive direction, and excellent special effects that do justice to one of [Lovecraft’s] darker tales.” –Andrew Migliore & John Strysik, LURKER IN THE LOBBY: A GUIDE TO THE CINEMA OF H.P. LOVECRAFT

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Arthur H. Virtue (1914-86) enjoyed documenting his familial and professional experiences as a resident of Northfield, New Jersey, while operating a chair and umbrella rental stand along the beaches of Atlantic City. Playing with the possibilities of photography, Arthur often composed trick shots, animated objects, incorporated titles, and integrated double exposures and overlays within his films and still images. He built a frame to hold his Super-8 camera and would shoot miles of the highway as he drove and experimented with splicing in commercial and promotional films within his own work. Inadvertently, Virtue also became a historical filmmaker by documenting his time working in Atlantic City during the 1930s-70s, and the many trips the family would take to other areas along the eastern seaboard and across America.

Super-8 and 8mm film, color, b&w, silent, digitized to standard definition and 2K resolution with with narration by Atlantic City Historian Vicki Gold Levi; Virginia Errichetti, Arthur’s daughter; and Lois Rossetti, Arthur M. Virtue, and Jimmy Virtue. Newly composed score by Matt Pond and Chris Hansen.

Introduction by Virginia Errichetti and historian Vicki Gold Levi.

Total running time: ca. 60 min.

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“[A] great barf-bag movie, all right, but is it any good?” asked Roger Ebert. Well, if you like chilly terror by the gutbucket full, then yes, of course. A remake of Howard Hawks and Christian Nyby’s THE THING FROM ANOTHER WORLD, about an alien crash landing and the ensuing havoc, Carpenter’s version is more paranoid, with an alien that imitates its victims. THE THING is a movie doused in Lovecraftian cosmic blood and dread.

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Gordon is responsible for some of the best known, and best loved, Lovecraft adaptations. RE-ANIMATOR is first among them, “a frankly gory horror movie that finds a rhythm and a style that make it work in a cockeyed, offbeat sort of way. It’s charged up by the tension between the director’s desire to make a good movie, and his realization that few movies about mad scientists and dead body parts are ever likely to be very good. The temptation is to take a camp approach to the material, to mock it, as Paul Morrissey did in FLESH FOR FRANKENSTEIN. Gordon resists that temptation, and creates a livid, bloody, deadpan exercise in the theater of the undead.” –Roger Ebert

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Dwight L. Core (1921-95) was a native of Carlisle, West Virginia. After serving in the Air Force in World War II, he worked as a photographer with the Naval Supply Center in Norfolk, Virginia. Starting in the 1940s, he made numerous 16mm amateur films, including murder mysteries, sometimes splicing in shots from other amateur or stag makers. Dwight’s grandson, George Ingmire, an audio engineer and artist, complements these narratives with a newly composed soundscape created especially for these works.

MURDER AT THE WARE HOUSE ca. 1940s, 7 min, 16mm-to-digital
THE DEATH CARD ca. 1940s, 5 min, 16mm-to-digital
THE EVIL EYE ca. 1940s, 10 min, 16mm-to-digital
THE PEEPER’S SECRET ca. 1940s, 10 min, 16mm-to-digital

Introduction and Q&A with George Ingmire.

Total running time: ca. 40 min.

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Scientists contact entities “from beyond.” Big mistake: the body horror mounts and mounts; astral forces expand the pineal gland (the legendary center of the “third eye”) till it’s uncorked, unleashing monstrous happenings. Gordon’s follow-up to RE-ANIMATOR, FROM BEYOND is a visceral rendering of the Lovecraft story of the same name.

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Richard Chamberlain stars as Australian lawyer David Burton, who takes on the defense of a group of aborigines accused of killing one of their own. He suspects the victim has been killed for violating a tribal taboo, but the defendants deny any tribal association. Burton, plagued by apocalyptic visions of water, slowly realizes his own involvement with the aborigines…and their prophecies. No less an authority than Lovecraft biographer S. T. Joshi has repeatedly identified THE LAST WAVE as one of his favorite Lovecraft-ian films.

“[F]ilms that do not purport to adapt a specific Lovecraft story have been far more successful than the actual Lovecraft adaptations. Consider Peter Weir’s masterful THE LAST WAVE, a film that brilliantly utilizes such Mythos icons as ancient gods dwelling under the earth, their influence on human beings through dreams, and the like. Set in Australia, the film comprises a magnificent, if loose, adaptation of ‘The Shadow out of Time’, although Weir has never explicitly identified Lovecraft as a source.” –S. T. Joshi, “The Cthulhu Mythos”

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A rigorous take on one of Lovecraft’s favorite themes: the cosmos drowned in the illogic of evil incarnate – or is it just one long hallucination? Watch in fear as insurance agent John Trent (Sam Neill) goes looking for missing horror novelist Sutter Cane – whose book, in a Borgesian turn, slowly subsumes Trent’s world. 1990s meta-cinema at its very best, IN THE MOUTH OF MADNESS features Charlton Heston as Cane’s publisher!

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MOTHER’S DAY 1948, 22 min, 16mm
FOUR IN THE AFTERNOON 1951, 15 min, 16mm
LOONY TOM, THE HAPPY LOVER 1951, 10 min, 16mm

“For Broughton, making films did not make him less of a poet; it made him more of a poet. Like Jean Cocteau, Broughton insisted that poetry was not limited to ‘verse,’ and that it was the most precise word to describe his activities. […] His ‘filmic passion’ led him not to commercial cinema…but to a ‘life of vision’ in which he might experience ‘a poetry that would reveal on a large screen what my feelings looked like.’” –Jack Foley, FULL, FRONTAL MYSTERY: THE FILMS OF JAMES BROUGHTON

Total running time: ca. 50 min.

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Stuart Gordon
MASTERS OF HORROR: DREAMS IN THE WITCH HOUSE
2005, 55 min, digital
No filmmaker has been as committed to adapting Lovecraft as Stuart Gordon, who tried his hand at transferring the writer’s work to the big screen throughout his career, from 1985’s RE-ANIMATOR to 2001’s DAGON. Thanks to the television anthology series “Masters of Horror”, Gordon had one last chance to engage with Lovecraft’s work, and the result was DREAMS IN THE WITCH HOUSE, one of the highlights of the series’ first season.

John Carpenter
MASTERS OF HORROR: CIGARETTE BURNS
2005, 59 min, digital
Carpenter’s singular film – made for the “Masters of Horror” anthology series – tells the twisting tale of financially desperate repertory theater owner(!) Kirby’s hunt for the last remaining print of a film infamous for its insanity-inducing first and only screening. Udo Kier plays the eerie film collector bent on getting his hands on the most coveted reels in movie history. CIGARETTE BURNS is part Lovecraft homage, part elegy for the disappearing materiality of film.

Total running time: ca. 120 min

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THE PLEASURE GARDEN 1953, 38 min, 35mm
THE BED 1968, 19 min, 16mm
NUPTIAE 1969, 14 min, 16mm

“Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the naïve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who’s really the artist, a loony wise man.” –P. Adams Sitney

Total running time: ca. 75 min.

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THE GOLDEN POSITIONS 1970, 32 min, 16mm
“A lovely, poetic, humorous, and crystal investigation of mankind standing, sitting, and lying down.” –John Wasserman, SAN FRANCISCO CHRONICLE

THIS IS IT 1971, 10 min, 16mm
“Broughton’s creation myth, THIS IS IT, places a 2-year-old Adam and a bright apple-red balloon in a backyard garden of Eden, and works a small miracle of the ordinary. And since that miracle is what the film is about, he achieves a kind of casual perfection in matching means and ends.” –Roger Greenspun, NEW YORK TIMES

TESTAMENT 1974, 20 min, 16mm
“TESTAMENT is James Broughton’s exquisite self-portrait. […] A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child’s prayer, dreams and visions.” –Karen Cooper

Total running time: ca. 65 min.

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“In this bonkers yet weirdly beautiful science fiction-horror hybrid (directed, with retro panache, by the great Richard Stanley), the light is a throbbing lilac and blood is Schiaparelli pink. And if I tell you that Nicolas Cage’s eyeballs will turn into ultraviolet high-beams, then you’ll know immediately if you’re in or out. Lovers of aberrant, gooey B-movies will be all in. […] Based on a 1929 short story by Lovecraft, COLOR OUT OF SPACE has more going on than just the squishy satisfactions of its old-school creature effects. Using shape-shifting as a messy metaphor for sickness and childhood trauma, Stanley and Cage leap so far over the psychological top that they never come back to earth.” –Jeannette Catsoulis, NEW YORK TIMES

“COLOR OUT OF SPACE comes to the screen as a febrile, energetic phantasmagoria, shot through with Lovecraftian weirdness.” –Michael Sragow, FILM COMMENT

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DREAMWOOD
(1972, 45 min, 16mm)
“A modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange, magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the force of life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film by a true master of the medium.” –David Bienstock

HIGH KUKUS (1974, 3 min, 16mm)
“A High Kuku is, of course, a cuckoo haiku. In inventing this form Broughton has concocted zany verses which are ‘high’ in the sense that they are often metaphysical and are keenly aware of the metacomedy of things.” –Alan Watts

Total running time: ca. 55 min.

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“[A] great barf-bag movie, all right, but is it any good?” asked Roger Ebert. Well, if you like chilly terror by the gutbucket full, then yes, of course. A remake of Howard Hawks and Christian Nyby’s THE THING FROM ANOTHER WORLD, about an alien crash landing and the ensuing havoc, Carpenter’s version is more paranoid, with an alien that imitates its victims. THE THING is a movie doused in Lovecraftian cosmic blood and dread.

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Youssef Chahine
CAIRO, AS TOLD BY CHAHINE
(AL KAHERA MENAWARA BE AHLAHA)
Egypt, 1991, 23 min, 35mm. In Arabic with English subtitles. Archival print courtesy of Arsenal – Institut für Film und Videokunst e.V.
Commissioned by French television to make a documentary about Cairo, iconic Egyptian director Youssef Chahine chose to mix observational footage with scripted vignettes to produce a mischievously meta film, marked by his characteristic humor, eroticism, and incisiveness. Despite its brevity, CAIRO sensitively captures the dusty, chaotic beauty of city life, setting its numerous injustices – poverty, overcrowded living quarters, greedy real estate developers, and the violence of globalization – against the backdrop of the first Gulf War. Refusing the mock-objectivity of reportage, Chahine presents a portrait of the city through his love for its inhabitants.

Jocelyne Saab
EGYPT, CITY OF THE DEAD
(MADINAT AL-MAWTA)
Lebanon, 1977, 38 min, 16mm-to-digital. In Arabic and French with English subtitles.
In recent years, the government of President Abdel Fattah el-Sisi has begun to raze large swaths of Cairo’s historic necropolis, a sprawling series of cemeteries where hundreds of thousands of the city’s poorest have taken up residence, squatting inside and around the centuries-old mausoleums, in an emphatic confluence of poverty and death. The destruction of the area, known as the City of the Dead, is both a mass eviction and the latest in Sisi’s assault on Egyptian life in the service of rapid development. Jocelyne Saab’s 1977 film documents the community living inside the necropolis alongside other members of Cairo’s toiling classes. Featuring music from Sheikh Imam and commentary from other leftists, including Lutfi el-Kholi, the screenwriter of Chahine’s THE SPARROW (1972).

Total running time: ca. 65 min.

The screening will be followed by a discussion with Hussein Omar and Sharif Abdel Kouddous.

Hussein Omar is a writer, historian, and recovering academic. He recently wrote an op-ed in the New York Times about the partial destruction of the City of the Dead, where his mother is buried alongside ancestors dating back to the 18th century. He is currently writing a 500-year family history based on research conducted in the necropolis.

Sharif Abdel Kouddous is an independent journalist whose grandmother, grandfather, and great grandfather are buried inside the City of the Dead. For eight years, he served as a senior producer, co-host, and correspondent on Democracy Now and has reported from Baghdad during the Iraq war, New Orleans in the aftermath of Hurricane Katrina, Haiti after the 2010 earthquake, Egypt during the Arab Spring, and Gaza during the 2014 war.

Proceeds from this event will be donated to Medical Aid for Palestinians, in light of the humanitarian crisis in Gaza.

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Marketed as part of Roger Corman’s extraordinary “Edgar Allan Poe” cycle, THE HAUNTED PALACE shares those films’ mastery of low-budget horror, impressively resourceful cinematic flair, and inimitable combination of tongue-in-cheek humor and genuinely uncanny power – but despite taking its title from Poe’s 1839 poem, the film is in fact based on Lovecraft’s novella, “The Case of Charles Dexter Ward” (written in 1927, but only published posthumously, in 1941). As such, it qualifies as the very first big-screen adaptation of Lovecraft’s work. Provenance aside, it’s a peerlessly entertaining film, with a deliciously double-trouble performance by Vincent Price as both the protagonist Ward and his ancestor Joseph Curwen, a necromancer burned alive over a century earlier.

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Gordon is responsible for some of the best known, and best loved, Lovecraft adaptations. RE-ANIMATOR is first among them, “a frankly gory horror movie that finds a rhythm and a style that make it work in a cockeyed, offbeat sort of way. It’s charged up by the tension between the director’s desire to make a good movie, and his realization that few movies about mad scientists and dead body parts are ever likely to be very good. The temptation is to take a camp approach to the material, to mock it, as Paul Morrissey did in FLESH FOR FRANKENSTEIN. Gordon resists that temptation, and creates a livid, bloody, deadpan exercise in the theater of the undead.” –Roger Ebert

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NORTH AMERICAN THEATRICAL PREMIERE!
SPACES OF EXCEPTION investigates and juxtaposes the struggles, communities, and spaces of the American Indian reservation and the Palestinian refugee camp. The film was shot over the course of four years in Arizona, New Mexico, New York, and South Dakota, as well as in Lebanon and the West Bank. Directed by Matt Peterson and Malek Rasamny, SPACES OF EXCEPTION attempts to understand the significance of the land – its memory and divisions – and the conditions for life, community, and sovereignty. SPACES OF EXCEPTION emerged out of the long-term multimedia project “The Native and the Refugee”, which has been presented in more than a dozen countries, including within the refugee camps and reservations themselves, and comprises the feature film, numerous short moving-image works, and the book “The Mohawk Warrior Society: A Handbook on Sovereignty and Survival” (2023, PM Press).

“The impact upon an oppressed people of being fractured systematically from a sense of place tied to its collective identity and spiritual cohesion is a devastating refrain throughout the film. ‘In Navajo there is no word for relocation; to relocate means to disappear and never be seen again,’ says one Native American. […] SPACES OF EXCEPTION powerfully makes its point that the modes by which dehumanisation is enacted are all too typical among oppressors, and as such solidarity can be found for global resistance among all oppressed. Visibility and life itself become forms of resistance, under a politics of erasure that sees one’s very existence as a provocation – ‘the mere fact of my breathing in the heart of the camp,’ as one Palestinian woman puts it.” –Carmen Gray, SENSES OF CINEMA

Each screening will be followed by a Q&A with directors Matt Peterson and Malek Rasamny. They will be joined in conversation by: Palestinian activist, lead organizer of Decolonize This Place, and NYU Adjunct Professor Amin Hussain on Fri, Oct 27; Franz Boas Professor of Anthropology and Gender Studies at Columbia University Elizabeth A. Povinelli on Sat, Oct 28; and visual artist, filmmaker, and 2022 MacArthur grantee Sky Hopinka on Sun, Oct 29.

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“Written by Nigel Kneale of QUATERMASS fame, THE STONE TAPE is another intense ghost story. First broadcast in 1972, and marrying science-fiction and the supernatural, it tells the story of a pioneering electronics company moving into its new research facility, a renovated Victorian mansion, only to discover that builders have refused to work in one particular room. Empty apart from a child’s letter to Santa (‘What I want for Christmas is please go away’), it transpires that this room is haunted by the ghost of a servant girl. Rather than running for their lives, the boffins regard her as a scientific breakthrough: a mass of data ripe for analysis with their cutting-edge recording equipment. Naturally, their interference proves rather unwise. Aided by…an extraordinary soundtrack from the BBC’s legendary Radiophonic Workshop (a gurgling soup of growls, scratches and harrowing screams).” –Paul Whitelaw, THE GUARDIAN

CLICK HERE TO BUY TICKETS NOW!

“Written by Nigel Kneale of QUATERMASS fame, THE STONE TAPE is another intense ghost story. First broadcast in 1972, and marrying science-fiction and the supernatural, it tells the story of a pioneering electronics company moving into its new research facility, a renovated Victorian mansion, only to discover that builders have refused to work in one particular room. Empty apart from a child’s letter to Santa (‘What I want for Christmas is please go away’), it transpires that this room is haunted by the ghost of a servant girl. Rather than running for their lives, the boffins regard her as a scientific breakthrough: a mass of data ripe for analysis with their cutting-edge recording equipment. Naturally, their interference proves rather unwise. Aided by…an extraordinary soundtrack from the BBC’s legendary Radiophonic Workshop (a gurgling soup of growls, scratches and harrowing screams).” –Paul Whitelaw, THE GUARDIAN

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“The Native and the Refugee”, directed by Matt Peterson and Malek Rasamny, is a multi-media project profiling the spaces of the American Indian reservation and Palestinian refugee camp: spaces of exception whose position in the struggle for native and Palestinian autonomy are essential. Since 2014 they have produced more than a dozen films, as well as a book, radio program, writings, and lectures, at over 100 events across 15 countries. This shorts program includes both their earliest and most recent films, made in collaboration with artists Adam Khalil (Ojibway) and Vanessa Teran. The films showcase Pine Ridge, Akwesasne, and Standing Rock, as well as Palestinian refugee camps in Lebanon, Syria, and Jordan.

Adam Khalil, Matt Peterson, and Malek Rasamny WE LOVE BEING LAKOTA 2015, 12 min, digital
Matt Peterson & Malek Rasamny THE HISTORY OF THE CAMP 2015, 10 min, digital
Adam Khalil, Matt Peterson, and Malek Rasamny THE WAY OF THE LONGHOUSE 2015, 12 min, digital
Matt Peterson & Malek Rasamny AIDA 2018, 9 min, digital
Matt Peterson, Malek Rasamny, and Vanessa Teran BEDOUINS OF JERICHO 2021, 8 min, digital
Matt Peterson, Malek Rasamny, and Vanessa Teran INDIAN WINTER 2017, 26 min, digital

Total running time: ca. 80 min.

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“Combine the literary elements of H.P. Lovecraft’s ‘The Shadow Over Innsmouth’ and Arthur Machen’s ‘The White People’ with the films THE NIGHT OF THE HUNTER and COUNT YORGA, and you might get this low, low-budget film by first-time director Richard Blackburn (better known for his writing credit on EATING RAOUL).” –Andrew Migliore & John Strysik, THE LURKER IN THE LOBBY: A GUIDE TO THE CINEMA OF H.P. LOVECRAFT

Richard Blackburn will be here in person following the screening on Sat, Oct 28, for a Q&A moderated by filmmaker Owen Kline!

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NORTH AMERICAN THEATRICAL PREMIERE!
SPACES OF EXCEPTION investigates and juxtaposes the struggles, communities, and spaces of the American Indian reservation and the Palestinian refugee camp. The film was shot over the course of four years in Arizona, New Mexico, New York, and South Dakota, as well as in Lebanon and the West Bank. Directed by Matt Peterson and Malek Rasamny, SPACES OF EXCEPTION attempts to understand the significance of the land – its memory and divisions – and the conditions for life, community, and sovereignty. SPACES OF EXCEPTION emerged out of the long-term multimedia project “The Native and the Refugee”, which has been presented in more than a dozen countries, including within the refugee camps and reservations themselves, and comprises the feature film, numerous short moving-image works, and the book “The Mohawk Warrior Society: A Handbook on Sovereignty and Survival” (2023, PM Press).

“The impact upon an oppressed people of being fractured systematically from a sense of place tied to its collective identity and spiritual cohesion is a devastating refrain throughout the film. ‘In Navajo there is no word for relocation; to relocate means to disappear and never be seen again,’ says one Native American. […] SPACES OF EXCEPTION powerfully makes its point that the modes by which dehumanisation is enacted are all too typical among oppressors, and as such solidarity can be found for global resistance among all oppressed. Visibility and life itself become forms of resistance, under a politics of erasure that sees one’s very existence as a provocation – ‘the mere fact of my breathing in the heart of the camp,’ as one Palestinian woman puts it.” –Carmen Gray, SENSES OF CINEMA

Each screening will be followed by a Q&A with directors Matt Peterson and Malek Rasamny. They will be joined in conversation by: Palestinian activist, lead organizer of Decolonize This Place, and NYU Adjunct Professor Amin Hussain on Fri, Oct 27; Franz Boas Professor of Anthropology and Gender Studies at Columbia University Elizabeth A. Povinelli on Sat, Oct 28; and visual artist, filmmaker, and 2022 MacArthur grantee Sky Hopinka on Sun, Oct 29.

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Richard Chamberlain stars as Australian lawyer David Burton, who takes on the defense of a group of aborigines accused of killing one of their own. He suspects the victim has been killed for violating a tribal taboo, but the defendants deny any tribal association. Burton, plagued by apocalyptic visions of water, slowly realizes his own involvement with the aborigines…and their prophecies. No less an authority than Lovecraft biographer S. T. Joshi has repeatedly identified THE LAST WAVE as one of his favorite Lovecraft-ian films.

“[F]ilms that do not purport to adapt a specific Lovecraft story have been far more successful than the actual Lovecraft adaptations. Consider Peter Weir’s masterful THE LAST WAVE, a film that brilliantly utilizes such Mythos icons as ancient gods dwelling under the earth, their influence on human beings through dreams, and the like. Set in Australia, the film comprises a magnificent, if loose, adaptation of ‘The Shadow out of Time’, although Weir has never explicitly identified Lovecraft as a source.” –S. T. Joshi, “The Cthulhu Mythos”

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“The Native and the Refugee”, directed by Matt Peterson and Malek Rasamny, is a multi-media project profiling the spaces of the American Indian reservation and Palestinian refugee camp: spaces of exception whose position in the struggle for native and Palestinian autonomy are essential. Since 2014 they have produced more than a dozen films, as well as a book, radio program, writings, and lectures, at over 100 events across 15 countries. This shorts program includes both their earliest and most recent films, made in collaboration with artists Adam Khalil (Ojibway) and Vanessa Teran. The films showcase Pine Ridge, Akwesasne, and Standing Rock, as well as Palestinian refugee camps in Lebanon, Syria, and Jordan.

Adam Khalil, Matt Peterson, and Malek Rasamny WE LOVE BEING LAKOTA 2015, 12 min, digital
Matt Peterson & Malek Rasamny THE HISTORY OF THE CAMP 2015, 10 min, digital
Adam Khalil, Matt Peterson, and Malek Rasamny THE WAY OF THE LONGHOUSE 2015, 12 min, digital
Matt Peterson & Malek Rasamny AIDA 2018, 9 min, digital
Matt Peterson, Malek Rasamny, and Vanessa Teran BEDOUINS OF JERICHO 2021, 8 min, digital
Matt Peterson, Malek Rasamny, and Vanessa Teran INDIAN WINTER 2017, 26 min, digital

Total running time: ca. 80 min.

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Stuart Gordon
MASTERS OF HORROR: DREAMS IN THE WITCH HOUSE
2005, 55 min, digital
No filmmaker has been as committed to adapting Lovecraft as Stuart Gordon, who tried his hand at transferring the writer’s work to the big screen throughout his career, from 1985’s RE-ANIMATOR to 2001’s DAGON. Thanks to the television anthology series “Masters of Horror”, Gordon had one last chance to engage with Lovecraft’s work, and the result was DREAMS IN THE WITCH HOUSE, one of the highlights of the series’ first season.

John Carpenter
MASTERS OF HORROR: CIGARETTE BURNS
2005, 59 min, digital
Carpenter’s singular film – made for the “Masters of Horror” anthology series – tells the twisting tale of financially desperate repertory theater owner(!) Kirby’s hunt for the last remaining print of a film infamous for its insanity-inducing first and only screening. Udo Kier plays the eerie film collector bent on getting his hands on the most coveted reels in movie history. CIGARETTE BURNS is part Lovecraft homage, part elegy for the disappearing materiality of film.

Total running time: ca. 120 min

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NORTH AMERICAN THEATRICAL PREMIERE!
SPACES OF EXCEPTION investigates and juxtaposes the struggles, communities, and spaces of the American Indian reservation and the Palestinian refugee camp. The film was shot over the course of four years in Arizona, New Mexico, New York, and South Dakota, as well as in Lebanon and the West Bank. Directed by Matt Peterson and Malek Rasamny, SPACES OF EXCEPTION attempts to understand the significance of the land – its memory and divisions – and the conditions for life, community, and sovereignty. SPACES OF EXCEPTION emerged out of the long-term multimedia project “The Native and the Refugee”, which has been presented in more than a dozen countries, including within the refugee camps and reservations themselves, and comprises the feature film, numerous short moving-image works, and the book “The Mohawk Warrior Society: A Handbook on Sovereignty and Survival” (2023, PM Press).

“The impact upon an oppressed people of being fractured systematically from a sense of place tied to its collective identity and spiritual cohesion is a devastating refrain throughout the film. ‘In Navajo there is no word for relocation; to relocate means to disappear and never be seen again,’ says one Native American. […] SPACES OF EXCEPTION powerfully makes its point that the modes by which dehumanisation is enacted are all too typical among oppressors, and as such solidarity can be found for global resistance among all oppressed. Visibility and life itself become forms of resistance, under a politics of erasure that sees one’s very existence as a provocation – ‘the mere fact of my breathing in the heart of the camp,’ as one Palestinian woman puts it.” –Carmen Gray, SENSES OF CINEMA

Each screening will be followed by a Q&A with directors Matt Peterson and Malek Rasamny. They will be joined in conversation by: Palestinian activist, lead organizer of Decolonize This Place, and NYU Adjunct Professor Amin Hussain on Fri, Oct 27; Franz Boas Professor of Anthropology and Gender Studies at Columbia University Elizabeth A. Povinelli on Sat, Oct 28; and visual artist, filmmaker, and 2022 MacArthur grantee Sky Hopinka on Sun, Oct 29.

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“It has been compared to the works of Bergman, Bava and Argento – and it remains one of the most spectacular and original horror films of the fin-de-millénaire. Mariano Baino’s groundbreaking debut feature stars Louise Salter as a young Englishwoman drawn to an island in the Black Sea in an attempt to discover her mysterious connection to a remote convent – a crumbling edifice that has been constructed over a labyrinth of Lovecraftian horrors. There, she will unlock dark family secrets and uncover remnants of a suppressed pagan past that is quite literally leaking into the present, threatening to burst through with apocalyptic force at any moment.” –SLASH FILM FESTIVAL

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“In this bonkers yet weirdly beautiful science fiction-horror hybrid (directed, with retro panache, by the great Richard Stanley), the light is a throbbing lilac and blood is Schiaparelli pink. And if I tell you that Nicolas Cage’s eyeballs will turn into ultraviolet high-beams, then you’ll know immediately if you’re in or out. Lovers of aberrant, gooey B-movies will be all in. […] Based on a 1929 short story by Lovecraft, COLOR OUT OF SPACE has more going on than just the squishy satisfactions of its old-school creature effects. Using shape-shifting as a messy metaphor for sickness and childhood trauma, Stanley and Cage leap so far over the psychological top that they never come back to earth.” –Jeannette Catsoulis, NEW YORK TIMES

“COLOR OUT OF SPACE comes to the screen as a febrile, energetic phantasmagoria, shot through with Lovecraftian weirdness.” –Michael Sragow, FILM COMMENT

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NORTH AMERICAN THEATRICAL PREMIERE!
SPACES OF EXCEPTION investigates and juxtaposes the struggles, communities, and spaces of the American Indian reservation and the Palestinian refugee camp. The film was shot over the course of four years in Arizona, New Mexico, New York, and South Dakota, as well as in Lebanon and the West Bank. Directed by Matt Peterson and Malek Rasamny, SPACES OF EXCEPTION attempts to understand the significance of the land – its memory and divisions – and the conditions for life, community, and sovereignty. SPACES OF EXCEPTION emerged out of the long-term multimedia project “The Native and the Refugee”, which has been presented in more than a dozen countries, including within the refugee camps and reservations themselves, and comprises the feature film, numerous short moving-image works, and the book “The Mohawk Warrior Society: A Handbook on Sovereignty and Survival” (2023, PM Press).

“The impact upon an oppressed people of being fractured systematically from a sense of place tied to its collective identity and spiritual cohesion is a devastating refrain throughout the film. ‘In Navajo there is no word for relocation; to relocate means to disappear and never be seen again,’ says one Native American. […] SPACES OF EXCEPTION powerfully makes its point that the modes by which dehumanisation is enacted are all too typical among oppressors, and as such solidarity can be found for global resistance among all oppressed. Visibility and life itself become forms of resistance, under a politics of erasure that sees one’s very existence as a provocation – ‘the mere fact of my breathing in the heart of the camp,’ as one Palestinian woman puts it.” –Carmen Gray, SENSES OF CINEMA

Each screening will be followed by a Q&A with directors Matt Peterson and Malek Rasamny. They will be joined in conversation by: Palestinian activist, lead organizer of Decolonize This Place, and NYU Adjunct Professor Amin Hussain on Fri, Oct 27; Franz Boas Professor of Anthropology and Gender Studies at Columbia University Elizabeth A. Povinelli on Sat, Oct 28; and visual artist, filmmaker, and 2022 MacArthur grantee Sky Hopinka on Sun, Oct 29.

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Marketed as part of Roger Corman’s extraordinary “Edgar Allan Poe” cycle, THE HAUNTED PALACE shares those films’ mastery of low-budget horror, impressively resourceful cinematic flair, and inimitable combination of tongue-in-cheek humor and genuinely uncanny power – but despite taking its title from Poe’s 1839 poem, the film is in fact based on Lovecraft’s novella, “The Case of Charles Dexter Ward” (written in 1927, but only published posthumously, in 1941). As such, it qualifies as the very first big-screen adaptation of Lovecraft’s work. Provenance aside, it’s a peerlessly entertaining film, with a deliciously double-trouble performance by Vincent Price as both the protagonist Ward and his ancestor Joseph Curwen, a necromancer burned alive over a century earlier.

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A feature-length documentary produced by the National Film Board of Canada, ACTS OF DEFIANCE chronicles the events surrounding 1990’s so-called Oka Crisis, when the Mohawk Warrior Society led a 78-day armed standoff and blockade against the Canadian government over plans to expand a golf course over an ancestral cemetery. This was the largest domestic military operation ever initiated by the Canadian government, and was a key turning point in shaping contemporary indigenous struggles. Matt Peterson and Malek Rasamny recently co-edited “The Mohawk Warrior Society: A Handbook on Sovereignty and Survival” (2023), a book that documents the revival of this group, which came to international attention around these events.

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Still one of the great achievements of scripted television, Nigel Kneale’s “Quatermass” serials of the 1950s brought a then-unprecedented degree of spookiness, sci-fi inventiveness, and intellectual provocation to the small screen. Each of the serials was adapted in short order into a feature film by the legendary Hammer Film Productions, culminating in this third and final big-screen production. Though not literally adapted from Lovecraft, the various “Quatermass” series and films are steeped in the kind of cosmic horror – the dreadful sense that there exist (usually malevolent) entities, powers, and deep histories unknown to humanity – that Lovecraft pioneered.

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