This very special film features a carefully curated selection of some of the priceless messages that have graced Anthology’s voicemail system over the years. From the historically important to the utterly (and sublimely) absurd, they feature a cast of characters ranging from legendary avant-garde filmmakers, scholars, and other cultural figures to civilians whose legend has (until now) been confined to the offices of Anthology, thanks precisely to their witty, eloquent, eccentric – or in some cases unforgettably psychotic – voicemails. We’ve toyed with the idea of sharing these messages in some form for years, and the “Imageless Films” series provides a perfect pretext.

For over 70 years, Jonas Mekas, internationally known as the "godfather" of avant-garde cinema, documented his life in what came to be known as his diary films. From his arrival in New York City as a displaced person in 1949 to his death in 2019, he chronicled the trauma and loss of exile while pioneering institutions to support the growth of independent film in the United States. Fragments of Paradise is an intimate look at his life and work constructed from thousands of hours of his own video and film diaries-including never-before-seen tapes and unpublished audio recordings. It is a story about finding beauty amidst profound loss, and a man who tried to make sense of it all... with a camera.

A “Cinéma, de notre temps” series episode directed by french filmmaker Jackie Raynal, originally aired 29 May 2016.

Using the words and ideas of great filmmakers, from archival interviews with Alfred Hitchcock and Robert Bresson to new interviews with Mike Leigh, David Lynch, and Jonas Mekas, Oscar-winning filmmaker Chuck Workman shows what these filmmakers and others do that can't be expressed in words - but only in cinema.

Henry Hills’s Emma’s Dilemma reinvents the portrait for the age of digital reproduction. In a set of tour-de-force probes into the images and essences of such downtown luminaries as Richard Foreman, Ken Jacobs, and Carolee Schneemann, Hills’s cinematic inventions literally turn the screen upside down and inside out. In this epic journey into the picaresque, we follow Emma Bee Bernstein, our intrepid protagonist, from her pre-teen innocence to her late teen-attitude, as she learns about the downtown art scene firsthand. In the process, Hills reimagines the art of video in a style that achieves the density, complexity, and visual richness of his greatest films.

Director Jonas Mekas travels through New York nights, through apartments, studios, backstage rooms, galleries, bars, and clubs. Encountering old acquaintances like Ken and Flo Jacobs, Yoko Ono, friends, brothers and sisters, sons and daughters. Mr. Mekas begins the film with the words 'I can't sleep.' Who hasn't been in this situation? Sleepy and yet wide awake at the same time, you find yourself in the world of those exhausted from the day's exertions, the drunk, the relaxed, the dancing, the brooding, the mourning, and the pensive.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

A series of video letters between José Luis Guerín and Jonas Mekas.

The documentary’s starting point is the discovery and restoration of a rare and unknown photography reel reproduced from a mutoscope film, made in 1901 in London, about Santos Dumont (1873 – 1932). The work approaches historic and artistic aspects from the beginning of Cinema (pre cinema, variety film) and a cinema that appropriates archive material (found footage, recycled films), through interviews, documents, visual metaphors and the articulation of a poetic essay.

A wholesome moment: Jonas Mekas, MM Serra, Ken Jacobs, and Flo Jacobs take lavender from a stranger's bush.

In Momma's Man an adult decides to escape the pressures of life and return to his old bedroom at his parents' house. An odd premise, but executed with skill and tenderness.

In this entrancing documentary on performance artist, photographer and underground filmmaker Jack Smith, photographs and rare clips of Smith's performances and films punctuate interviews with artists, critics, friends and foes to create an engaging portrait of the artist. Widely known for his banned queer erotica film Flaming Creatures, Smith was an innovator and firebrand who influenced artists such as Andy Warhol and John Waters.

An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents.

Features interviews with famed underground filmmaker Ken Jacobs and associates, and screens in full (I think) two rare Jacobs works: Nissan Ariana Window, and Spaghetti Aza.

A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.

Filmmaker Jonas Mekas films 160 underground film people over four decades.

Not a documentary in the strictest sense of the word. Rather, it is a journey through the world of the artist Jonas Mekas - one of the exponents of independent U.S. movies; founder and director of the New York Anthology Film Archive.

Quartet Number One (1991) 8 min.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

Home movies shot on Super 8mm by W+B Hein over 10 years.

Jonas Mekas adjusts to a life in exile in New York in his autobiographical film, shot between 1949 and 1963.

In 1968, Noren finished Huge Pupils, a gorgeous, sensuous, sexually outrageous visual study of his daily life, and part I of an ongoing series he would come to call The Adventures of the Exquisite Corpse.

An epic portrait of the New York avant-garde art scene of the 60s.

"The whole film are non-art portraits of people in which they do what they want with this hat – and therefore, act or stand in front of my camera. It’s only love: therefore it can’t harm you". Joyce Wieland.

A man fondles objects, looks at himself in the mirror, poses in different clothes, smiles and makes faces at the camera while his voice on the soundtrack speaks of his despair, makes impressionistic statements and little songs, quotes Greta Garbo and Maria Montez, tells the story of a lonely little boy and tells the story of a woman named Madame Nescience who dreams of herself as the Mother Superior of a convent of sexual perversion.

Shot in 1959, Scotch Tape is Jack Smith's first film -- a joyous, three-minute romp, in color, using Peter Duchin's rhumba "Carinhoso" for its soundtrack. Three young men merrily bop through the wreckage of razed buildings at the site of what would become Lincoln Center. Apparently, Scotch Tape was never edited and, instead, was cut in the camera by Smith, combining long shots and close-ups while filming mostly from overhead. The title comes from a small strip of scotch tape that was accidentally stuck on the camera and so is visible in the lower-right corner of the frame throughout the film.