Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.

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.

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

The 29-minute experimental film Christmas on Earth caused a sensation when it first screened in New York City in 1964. Its orgy scenes, double projections and overlapping images shattered artistic conventions and announced a powerful new voice in the city's underground film scene. All the more remarkable, that vision belonged to a teenager, 18-year-old Barbara Rubin. A Zelig of the '60s, she introduced Andy Warhol to the Velvet Underground, Bob Dylan to Kabbalah and bewitched Allen Ginsberg. The same unbridled creativity that inspired her to make films when women simply didn't, saw her breach yet another male domain, Orthodox Judaism, before her mysterious death at 35. Lifelong friend Jonas Mekas saved all her letters, creating a rich archive that filmmaker Chuck Smith carefully sculpts into this fascinating portrait of a nearly forgotten artist. An avante-garde maverick, a rebel in a man's world, Barbara Rubin regains her rightful place in film history.

"The theater is about sex." At least according to Richard Foreman, the father of the Ontological Hysterical Theater. THE ONTOLOGICAL COWBOY documents Foreman’s invocation of the "manifest destiny" of the avant-garde theater, King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupations. If "the cast and crew suffer alike," it’s all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife.

A filmed play by Richard Foreman.

"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 young woman stands by a car while scenes from metropolitan life flash by.

Foreman spent the early months of 1979 rehearsing a play called Madness and Tranquility (My Head Was a Sledgehammer), which he abruptly cancelled very shortly before its scheduled opening. Film critic and longtime CalArts professor Berenice Reynaud documented those rehearsals and used the footage in this rarely screened essay film, which had long been considered lost. Miraculously, Anthology has recently rediscovered the original 16mm elements and has digitally restored the film for this occasion. A truly exciting find that presents the only known footage of an important, albeit lost, Foreman work.

Foreman’s longtime friend Ken Jacobs situated himself in the audience of the legendary Ontological-Hysteric theater space at 491 Broadway to shoot this whiplash-inducing single-frame study of a dynamic play filled with frantic action, full frontal nudity, and so much more. Newly digitized from the camera roll discovered in Foreman’s archives.