Series of Unfinished Films Presented at The Met Breuer April Through June

In conjunction with Unfinished: Thoughts Left Visible, one of the inaugural exhibitions at The Met Breuer, a series of screenings of experimental films selected by Thomas Beard, founder and co-director of Light Industry, are being presented in April. The Unfinished Film includes works made by some of the 20th and 21st century’s most innovative filmmakers. They are in any number of intermediary states: left intentionally unfinished, abandoned out of frustration, cut short by death, or curtailed by political circumstance. The series, which opened on April 7 with Kenneth Anger’s 1949 film Puce Moment, paired with Erich von Stroheim’s Queen Kelly (1928), will run through

June 4.

Introduction by Thomas Beard

It’s All True, Richard Wilson, Bill Krohn, and Myron Meisel, with Orson Welles, 1993 (89 minutes)

Introduction by Jonas Mekas

Witch’s Cradle, Maya Deren, 1943 (12 minutes)

Introduction by Thomas Beard

Eisenstein’s Mexican Film: Episodes for Study, Sergei Eisenstein, 1930–1932 (shot); 1955

Part One: 11 am–1 pm (120 minutes)

Part Two: 3–5 pm (108 minutes)

Normal Love, Jack Smith, 1963–1964 (120 minutes)

Introduction by Ken Eisenstein

Selections from Magellan, Hollis Frampton, 1972–1980 (80 minutes)

Introduction by Hilton Als

Peggy and Fred in Hell, Leslie Thornton, 1984–2016 (90 minutes)

Introduction by Ed Halter

Versions, Oliver Laric, 2009 (9 minutes)

Redistribution, Seth Price, 2007 (45 minutes)

Presentation by Mariam Ghani on What we left unfinished—a long-term research, film, and dialogue project centered around five unfinished Afghan feature films shot between 1978 and 1992, but never edited