The Theater of the Matters presents… A RISKY LIFE: LETTERS FROM JEAN-CLAUDE ROUSSEAU A 7-film retrospective of the romantically materialist films of JCR, incl. all of his Super-8mm work on 16mm prints. June 26-30 at @anthologyfilm.bsky.social. theaterofthematters.com/programs/a-r...

“Fiction means putting oneself in the middle of the world to tell a story. Documentary means going to the end of the world not to have to tell. ... Ana-end of the world? Ana-midst of the world?” – Serge Daney

Thank you for looking at Portuguese cinema yet again @screenslate.bsky.social & @nicopsetzer.bsky.social 💫 (apologies for saying Queer Lisboa was the oldest film fest in Portugal—they're not, but they've been around since the 20th century FWIW...)

The Theater of the Matters presents… In the Midst of the End of the World—a reading Join us at Unnameable Books to celebrate the new publication on Reis/Cordeiro. There will be reading and talking, and we will screen a film by Marguerite Duras. April 6! theaterofthematters.com/programs/xxv...

“The directorial debut of António Reis was something of a bolt from the blue ... Jaime was nonetheless an arresting spectacle, due to its own beauty as a work as well as the striking impression that it conveyed.” – José Manuel Costa

A look at the pristine check print we’ll be screening tomorrow. See you at BAM! We’ve been moved to the biggest theater, so bring your friends, families, loved ones, comrades.

In collaboration with Punto de Vista, International Film Festival of Navarra, we are pleased to present two Frans van de Staak texts from 1966: ‘An Interview with Jean-Marie Straub’ + an essay ‘On NICHT VERSÖHNT and MACHORKA-MUFF.’ Links below.

Thanks to David and Criterion Daily for highlighting our Reis/Cordeiro program, opening tomorrow in NYC and Chicago.

Something very special this weekend at Metrograph thanks to @theaterofmatters.bsky.social: António Reis & Margarida Cordeiro.

Humbling to write about the great António Reis and Margarida Cordeiro for @screenslate.bsky.social , in support of the retrospective by @theaterofmatters.bsky.social www.screenslate.com/articles/ant...

Our interview with Pedro Costa on his teacher António Reis, a man who “lived every second of his life in love,” and on the films he made with his partner Margarida Cordeiro. Read it now in Metrograph Journal and join us in the cinema this weekend. metrograph.com/pedro-costa-...

We are honored to publish two poems by António Reis from his legendary book 'Poemas Quotidianos' (1957-60), newly translated by Miguel Cardoso. theaterofthematters.com/texts/two-po...

António Reis & Margarida Cordeiro @ Unnameable Books, Brooklyn.

João César Monteiro (Santos)’s favorite films from 1968. O CHARLATÃO = THE BIG MOUTH by Jerry Lewis

READ: 1) The Big Mouth Strikes Again: A Dialogue by Chris Fujiwara & A.S. Hamrah theaterofthematters.com/texts/the-bi... 2) “The Big Mouth” from Le Monde de Jerry Lewis by Noël Simsolo, translated by Nicholas Elliott theaterofthematters.com/texts/the-bi...

The Big Mouth (Jerry Lewis, 1967) will be playing in 35mm at BAM on Mar 4, so the programmers asked Chris Fujiwara and me to discuss it, which you can read here: theaterofthematters.com/texts/the-bi...

The Theater of the Matters presents… Jerry Lewis’ THE BIG MOUTH “If Jerry Lewis had been working in 1917, he would have made genuine Marxist movies.” - Jean-Luc Godard March 4 at BAM. Rare 35mm. theaterofthematters.com/programs/jer...

JAIME, THE UNEXPECTED IN PORTUGUESE CINEMA: António Reis interviewed by João César Monteiro (1974) This astonishing conversation appears here for the first time in English, incl. JCM’s introductory text. theaterofthematters.com/texts/jaime-...

The Theater of the Matters presents… PEASANTS OF THE CINEMA: ANTÓNIO REIS & MARGARIDA CORDEIRO A full retrospective of the legendary Portuguese duo, who made films of deep commitment rooted in reality and poetry, the earth and the cosmos. Opens Feb 21 at Metrograph and Doc Films.

A taste of coming attractions. - - - - - - - No finis to the film unless The ending is your own. Turn off the lights, remind The operator of his union card: Sit forward, let the screen reveal Your heritage, the logic of your destiny. - Weldon Kees, ‘Subtitle’ (1936)