Thom Andersen

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Created from material developed during "The Thoughts That Once We Had," this short film presents an anthology of 26 scenes from films made between 1904 and 2015, each depicting trains arriving at stations. The sequences are arranged in a serial structure, with black-and-white scenes in the first half paired with corresponding color sequences in the second half, forming a symmetrical visual progression.

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Thom Andersen (Los Angeles Plays Itself, Red Hollywood) reconsiders the films of Spencer Williams, the pioneering African American screenwriter, director, and actor whose 1940s melodramas centered on sinners and saints—Beale Street mamas and storefront preachers, crime bosses and upwardly striving lawyers and soldiers—who are tempted by jazz and sex and then set back on the glory road to salvation. - MoMA

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One of America’s foremost practitioners of the essay film presents a major new work inspired by the writings of Gilles Deleuze on cinema. Andersen’s The Thoughts That Once We Had is a richly layered journey through cinematic history, masterfully edited as it playfully moves across decades and genres, and suffused at every turn by the renowned filmmaker and critic’s lifelong passion for the movies.

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A “music video” to accompany the Farmingdale Sound Machine version of “California Sun,” originally recorded by the Rivieras. The Farmingdale Sound Machine had created a video for the song using clips from Thom Andersen's film Los Angeles Plays Itself. Andersen supplanted these with movie clips that "more precisely illustrate the song, although the relation to the lyrics will sometimes be ironic, befitting an ironic mournful version of the song."

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Although he has been limited to bit parts, the actor Tony Longo is an axiom of American action cinema: the giant who is too soft-hearted for the job. Composed of three short movies, Hey, Asshole!, Adam Kesher and You Fucking Dickhead!, The Tony Longo Trilogy brings together all of the actor’s scenes in three of his most memorable films: The Takeover (Troy Cook, 1995), Living in Peril (Jack Ersgard, 1997) and Mulholland Dr. (David Lynch, 2001).

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A journey across unique places that challenge the world of their time, landmarks of the future built by revolutionary minds that can be described, each in their own way, as architectural utopias. The film is divided in five chapters which represent five works.

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Celebrated for his minimal, monumental landscape studies, James Benning turns to the intimacy of the portrait in his latest film, TWENTY CIGARETTES. Referencing Warhol’s screen tests, 1930s Hollywood glamour, and the disappearing cigarette break, the film captures 20 of Benning’s friends (including filmmaker Sharon Lockhart, cultural theorist Dick Hebdige, and book editor Janet Jenkins) satiating their smoke cravings. Each shot’s length is determined by the time it takes each subject to smoke a cigarette, and over the course of the film a dynamic range of personalities emerges out of an array of physical characteristics, distinctive settings, and personal relationships to the camera. (Amy Beste and Jessica Bardsley)

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A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.

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Created from material developed during "The Thoughts That Once We Had," this short film presents an anthology of 26 scenes from films made between 1904 and 2015, each depicting trains arriving at stations. The sequences are arranged in a serial structure, with black-and-white scenes in the first half paired with corresponding color sequences in the second half, forming a symmetrical visual progression.

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Although he has been limited to bit parts, the actor Tony Longo is an axiom of American action cinema: the giant who is too soft-hearted for the job. Composed of three short movies, Hey, Asshole!, Adam Kesher and You Fucking Dickhead!, The Tony Longo Trilogy brings together all of the actor’s scenes in three of his most memorable films: The Takeover (Troy Cook, 1995), Living in Peril (Jack Ersgard, 1997) and Mulholland Dr. (David Lynch, 2001).

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From its distinctive neighborhoods to its architectural homes, Los Angeles has been the backdrop to countless movies. In this dazzling work, Andersen takes viewers on a whirlwind tour through the metropolis' real and cinematic history, investigating the myriad stories and legends that have come to define it, and meticulously, judiciously revealing the real city that lives beneath.

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A documentary that examines the films made by the victims of the Hollywood Blacklist and offers a radically different perspective on a key period in the history of American cinema.

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