The Incredible, Indelible Films of Manuel Delanda

Co-presented by Los Angeles Filmforum

“An anarchist who studies analytical philosophy, Manuel DeLanda makes aggressive, wild movies that simultaneously leap all over the place and stand absolutely still. A touch of the happy charlatan is similarly brought to his glitter punk credentials that hark back to such diverse Spanish-speaking surrealists as Arrabal, Buñuel, Dali, and Jodorowsky — although, unlike most of his predecessors, DeLanda prefers LSD and computers to the sacraments and anti-Christs of Catholicism in establishing the terms of his shock (and semi-mock) rebellion.” –Jonathan Rosenbaum

Audacious. Outlandish. Subversive. Intense. Insane. These are just a few of the inadequate adjectives that fail to describe Manuel DeLanda’s fantastically disarming and deeply funny films. Known today as an author, teacher, and philosopher, DeLanda’s iconic celluloid works remain among the most innovative, abrasive, and hypnotic films produced in the ‘70s and early ‘80s. Unique among the films of their era (or of any other for that matter), DeLanda’s movies have a highbrow philosophical tinge, lowbrow wit, and punk rock style. Radically conceived and frantically edited, DeLanda’s energetic, semiotic cinema earned him instant acclaim in the international experimental film world — and, raised in Mexico but transplanted to NYC, DeLanda rather amazingly created most of these films while still an undergraduate at the School for Visual Arts. Out of circulation for nearly two decades and newly restored by Anthology Film Archives from the best existing sources, these utterly distinctive films will undoubtedly re-arrange your synapses. John Klacsmann (of Anthology Film Archives) will be here to introduce the films!

Anthology Film Archives’ preservation of the films of Manuel DeLanda was generously supported by The Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.

Film scheduled:
- JUDGEMENT DAY (1983, 8 minutes, Super 8mm-to-16mm): Cockroaches meet their maker in the first installment of DeLanda’s incomplete “Jerry Falwell trilogy.”
- THE ITCH SCRATCH ITCH CYCLE (1976, 8 minutes, 16mm): A bickering couple unleash holy hell on each other in this deconstruction of the shot/countershot technique.
- MAGIC MUSHROOM MOUNTAIN MOVIE (1981, 10 minutes, Super 8mm-to-digital): Shot in 1973 but not edited until years later, this rarely-screen Jodorowsky-ian Mexican travelogue is surprisingly lovely and, for DeLanda, relatively restrained.
- INCONTINENCE: A DIARRHETIC FLOW OF MISMATCHES (1978, 18 minutes, 16mm): WHO’S AFRAID OF VIRGINIA WOOLF goes gaga in this optically-printed masterpiece featuring a very surprise appearance by Professor Mamboozoo (artist Joe Coleman).
- ISMISM (1979, 8 minutes, Super8mm-to-16mm, screening on digital): “ISMISM documents my graffiti activities in New York (before switching to more obscene drawings on subway walls). The film was originally made as a class project for P. Adams Sitney. It has the form of a manifesto against the orthopedic power of language.” –Manuel DeLanda
- RAW NERVES: A LACANIAN THRILLER (1980, 30 minutes, 16mm): A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story. Toilet humor and pulp fiction captured in colors like you’ve never seen, RAW NERVES is DeLanda’s most accomplished film.