SEDUCTION: THE CRUEL WOMAN
Monika Treut and Elfi Mikesch's film follows Wanda, a dominatrix and gallerist who lets patrons watch her scenes, and uses Sade's "Venus in Furs" to question the spectator's role.
Monika Treut and Elfi Mikesch's film follows Wanda, a dominatrix and gallerist who lets patrons watch her scenes, and uses Sade's "Venus in Furs" to question the spectator's role.
A new film by six artists plays alongside shorts by Caroline Leaf, Sandy Moore, and Faith Hubley, including a digital restoration of a 16mm work and a Hubley film on 35mm.
Liz Santoro recounts her life onstage, but some memories are AI-generated and some movements come from an algorithm trained on her dancing. It asks where the body ends and the machine begins.
Pianist-composer Angelica Sanchez leads nine players, with cello, cornet and contra alto clarinet alongside two saxes and a rhythm section. The unusual lineup suggests music written with care.
Irish noise-rock band Gilla Band bring their abrasive, inventive sound to The Hall, with PISS on the support slot. A loud, tightly matched bill for anyone who likes their guitars pushed to extremes.
Experimental documentaries dig through the videotape archive of a pioneering gay BDSM club's founder, paired with Emre Busse's tragic, camp short built around an anal fissure.
Four 16mm shorts from the 1970s that speak frankly about sex and disability, two of them directed by Laird Sutton. It's a subject rarely tackled in erotic or educational film.
The Ikenobo Ikebana Society's New York chapter marks four decades with an exhibition in the museum's Education Studio, treating flowers as sculpture shaped by time, place, and close looking.
Trumpeter Alexandria Smith pairs up with bassist Kathryn Schulmeister, violist Jessica Pavone and bassoonist Katie Young, with electronics woven through. One night of her residency.
A live-coding bill: DJ_Dave headlines, Arushi Jain plays modular synth, and Char Stiles makes visuals out of code, with several more artists across two rooms.
Eisenstein's silent landmark has no hero, only the masses, and builds its power from montage and parallel action. Shown at Anthology as part of its Essential Cinema program.
Photographer Paula Bronstein presents her photobook Witnessing Life and talks about it herself, in a small room run by a documentary-focused organization with a clear point of view.
Eisenstein's silent film staged as a cosmic newsreel and film poem, which J. Hoberman calls the Soviet equivalent of the Sistine Chapel. A chance to see it on a big screen.
Three musicians blend Western jazz, ambient music, American folk, and traditional Indian classical music in a single set. A cross-genre program built around strings and shared ground.
A quintet of improvisers from New Orleans and New York, with Billy Martin on drums, Jeff Albert on trombone and Byron Asher on woodwinds, joined by trumpeter Alexandria Smith, who curated the week.
Eisenstein's silent feature, also known as The General Line, where he refined "mise-en-cadre" and "overtonal montage" to push silent film to its peak. A chance to see his theories on a big screen.
Guest curator Stephanie Acosta frames nature as sci-fi, not a crunchy walk. Video projection by Dakota Gearhart, live sound from Kerosene Jones and Julia Santoli, and a listening session with visuals.
Andrea Kleine shares three works-in-progress: a book, a performance, and a microbudget feature, all circling nature, personal horrors, and the weirdness of performing. Music by Bobby Previte.
Saxophonist Miguel Zenón and pianist Luis Perdomo strip the bolero down to a two-person conversation, turning Latin American love songs into open-ended jazz in a small, artist-focused room.
Closing night of trumpeter Alexandria Smith's residency, a one-time septet of trombones, saxes and trumpets plus percussion and electronics, with Jeff Albert, Byron Asher and Dave Taylor.