Manfred Kirchheimer

The astonishing story of the first documentary film school in the USA—The Institute of Film Techniques at The City College of New York. This groundbreaking program exposed thousands of working-class kids raised on Hollywood movies to the power of documentary film - all under the watchful eye of DADAist, pioneering experimental filmmaker and radical thinker, Hans Richter.

Passage across a suspension bridge, moving from the country to the city, a half minute trip ­expanded. Choreographed cables, girders and arches.

Documentary that follows four graffiti artists who trace the history of graffiti

Meticulously restored and constructed 16mm black-and-white footage shot in New York between 1958 and 1960. This lustrous evocation of a different rhythm of life captures the in-between moments—kids playing stickball, window washers, folks reading newspapers on their stoops—and the architectural beauty of urban spaces, set to the stirring sounds of Ravel, Bach, Eisler, and Count Basie.

Rummaging through city trash for hours and miles, New York’s gleaners gather and recycle soda cans for a nickel apiece. The stories they tell are full of humor, violence, tragedy, and resilience. As Kirchheimer’s documentary reveals, however, their tireless labor is ignored or scorned, but for the occasional doorman or Good Samaritan who chooses to lend his hand rather than avert his gaze.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

Between 1958 and 1960 Walter Hess and Manny Kirchheimer shot black and white 16mm film from Wall Street to midtown New York to the Delaware River. They documented the activities at a huge construction site, street life in Hell’s Kitchen, New York harbor traffic, and rare glimpses of nature. Then the footage was left unedited. In 2017 Kirchheimer (DISCOVERY IN A PAINTING, TALL: THE AMERICAN SKYSCRAPER AND LOUIS SULLIVAN, STATIONS OF THE ELEVATED) took up the challenge of editing it. Once the picture was set he searched for music and sound effects that would mesh with the surrealism of the material. The result is a dynamic and compact symphony of a city.

Filmmaker Manfred Kirchheimer gained the trust of holocaust survivors living in New York's Washington Heights who agreed to talk to his cameras. But what they told him went so far against the grain that it could only be described as controversial.

Stations of the Elevated exposes viewers to an underground art scene- that is, one found exclusively on the sides of subways and train cars. A moving portrait of late-70's NYC, the film boasts a soundtrack by jazz legends Charles Mingus & Aretha Franklin.

Stations of the Elevated exposes viewers to an underground art scene- that is, one found exclusively on the sides of subways and train cars. A moving portrait of late-70's NYC, the film boasts a soundtrack by jazz legends Charles Mingus & Aretha Franklin.

Encouraging the new youth vote to head to the ballot box

A documentary of SS United States on New York port.

A documentary of SS United States on New York port.

Following his use of art, painting and sculpture, in his work of the previous decades, Hurwitz took on a project for the American Foundation of the Arts aimed at deepening and enriching, for art students, the way in which we see. Working with his second wife, the editor Peggy Lawson, he made four short films comprising The Art of Seeing Series. The films, made without words, are beautiful poems to the pleasure of sight. This film came as a challenge that Hurwitz made for himself, to replicate in film his experience of seeing a work of art — in this case Césanne’s Still Life with Apples, 1895-98, that hangs in the Museum of Modern Art in New York. Although he finished the visual part of the film, he was stymied by the soundtrack in which he wanted no narration. About 45 years later, his colleague, Manfred Kirchheimer, created a sound track and produced the finished film.

The anger and outrage captured by graphic artists have defined revolutions through the centuries. Printmakers have depicted the human condition in all its glories and struggles so powerfully that perceptions, attitudes and politics have been dramatically influenced. And the value and impact of this art is even more important today. In the new documentary, ART IS... THE PERMANENT REVOLUTION, three contemporary American artists and a master printer help explain the dynamic sequences of social reality and protest. Among the wide range of 60 artists on display are Rembrandt, Goya, Daumier, Kollwitz, Dix, Masereel, Grosz, Gropper, and Picasso. While their stirring graphics sweep by, the making of an etching, a woodcut and a lithograph unfolds before our eyes, as the contemporary artists join their illustrious predecessors in creating art of social engagement.

The anger and outrage captured by graphic artists have defined revolutions through the centuries. Printmakers have depicted the human condition in all its glories and struggles so powerfully that perceptions, attitudes and politics have been dramatically influenced. And the value and impact of this art is even more important today. In the new documentary, ART IS... THE PERMANENT REVOLUTION, three contemporary American artists and a master printer help explain the dynamic sequences of social reality and protest. Among the wide range of 60 artists on display are Rembrandt, Goya, Daumier, Kollwitz, Dix, Masereel, Grosz, Gropper, and Picasso. While their stirring graphics sweep by, the making of an etching, a woodcut and a lithograph unfolds before our eyes, as the contemporary artists join their illustrious predecessors in creating art of social engagement.

A poetic blend of documentary and experimental filmmaking, depicting the changes brought on by urban planning as seen in New York City and the large mechanical claw that demolishes the architecture seen in the film.

A poetic blend of documentary and experimental filmmaking, depicting the changes brought on by urban planning as seen in New York City and the large mechanical claw that demolishes the architecture seen in the film.

A humorous and illuminating series of coffee klatches with 20 friends that proves the old adage, “Where you have two Jews, you have three opinions.” Ranging in age from 18 to 85, and in experience from greenhorn to Pulitzer-Prize winner, the film’s subjects kibitz over all manner of concern, from Israel to tight pants, gay rights, and the place of women at the Wailing Wall.

Crafted from the endless wealth of images filmed in 16mm on a Bolex by Kirchheimer and Walter Hess, Up the Lazy River is the conclusion of the triptych begun with Dream of a City and Free Time. Beginning with paired images of boulders planted in the middle of the urban landscape and outside the city, the connection between the beauty of the city and the natural world begins to form. There are modern skyscrapers above, and the horse-drawn carriages below. The film is filled with motifs that Kirchheimer has made his own: the camera traveling majestically through buildings, pointing skyward, light reflecting off glass, sweeping through the streets filming storefronts and daily life, always with an uncanny ability to capture small moments between neighbors, and the faces of a metropolis, culminating to the ecstatic sound of Louis Prima and the peaceful sounds of the river. Look close: you will even catch a glimpse of Manny himself.

A coda to the suite Kirchheimer began with 2018’s Dream of a City, One More Time poignantly intercuts our last glimpses of the cycle’s black-and-white, late-fifties New York with color outtakes from 1981’s Stations of the Elevated, depicting a different yet equally distant moment in the life of the city. Placed simultaneously between and beyond these two eras, the film becomes a lyrical lament for the promised New York that never was.

Documentary about New York skyscrapers.

Documentary about New York skyscrapers.

Documentary about New York skyscrapers.

Manfred kirchheimer featurette