This May in the Adrienne Mancia Streaming Room, GME is pleased to present Luigi Zampa’s 1947 Italian comedy L’ONOREVOLE ANGELINA (THE HONORABLE ANGELINA), starring Academy Award-winner Anna Magnani.

Adrienne Mancia was a fierce champion of Italian cinema. In 1988, she received Italy’s highest civilian honor, the Croce del la Repubblica. On the occasion of this award, Renato Pachetti, then-president of RAI Corporation (New York), remarked: “Adrienne Mancia has probably contributed more than any other person to the introduction of Italian cinema in America. Her knowledge of Italian films is extraordinary.” Gian Paolo Cresci, then-president of SACIS (Rome), the worldwide distribution wing of RAI, echoed Pachetti: “Adrienne Mancia’s generosity and energy have made her a special friend to the members of the Italian film community. No one is more deserving of this special honor.”

Today we recap screenings, events, and celebrations from April related to GME titles, artists, and colleagues. Notably, GME licensed a number of photographs by Hugh Bell, whose photographic legacy we represent. Films that GME distributes on DSL, DVD, and Blu-Ray to academic and cultural institutions screened at Anthology Film Archives as well as the 2026 Turner Classic Movies Film Festival. GME also announced our DSL distribution of Ernst Lubitsch’s THE LOVES OF PHARAOH and four, recently restored experimental films by Roger Jacoby.

Roger Jacoby (1944—1985) was a pioneering experimental filmmaker whose wildly improvisational, hand-processed works showcased a painterly and diaristic approach and, in his last films, a fervent political consciousness. His filmmaking career spanned from 1972 until his untimely death due to complications from AIDS in 1985, during which he completed eight films. Gartenberg Media is pleased to distribute four of these films — 1974’s DREAM SPHINX OPERA, 1976’s L’AMICO FRIED’S GLAMOROUS FRIENDS, 1980’s HOW TO BE A HOMOSEXUAL PART I, and Jacoby’s final film, 1982’s HOW TO BE A HOMOSEXUAL PART II — as Digital Site Licenses to academic and cultural institutions worldwide. These titles were recently restored by the Berkeley Art Museum and Pacific Film Archive through the National Film Preservation Foundation’s Avant-Garde Masters Grant.

Today we recap screenings, events, and celebrations from March related to GME titles, artists, and colleagues. A number of films by filmmakers that GME distributes screened at various venues in New York City and internationally, including The Museum of Modern Art, Metrograph, Light Industry, and the International Short Film Festival Oberhausen. GME also announced a number of new titles for DSL and/or DVD distribution, including Abigail Child’s prismatic triptych THE SUBURBAN TRILOGY and Paula Gaitán’s experimental documentary DAYS IN SINTRA.

On the occasion of Women’s History Month in March, GME is pleased to present four short films by pioneering women filmmakers that foreground the human body, particularly within the context of dance and movement.

We are honored to show these films in the Adrienne Mancia Streaming Room. Mancia, a legendary exhibition curator at MoMA, spent her career championing the work of such female cineastes as Shirley Clarke, Agnès Varda, and Maya Deren. Deren’s late-1950s presentation of her magnum opus MESHES OF THE AFTERNOON (1943) proved a particularly formative experience for Mancia. Therefore, we offer Deren’s final work, the dreamlike dance film THE VERY EYE OF NIGHT (1959), alongside rare behind-the-scenes footage of Deren shooting the film, as seen in an excerpt from Martina Kudláček’s 2001 documentary IN THE MIRROR OF MAYA DEREN. We are also pleased to present INTROSPECTION (1941), the debut film of a long-overlooked contemporary of Deren’s, Sara Kathryn-Arledge. Finally, we offer Stella Simon’s vanguard 1927 short HANDE, made in collaboration with Miklos Bandy.

Today we recap screenings, events, and celebrations from February related to GME titles, artists, and colleagues. A number of artists and filmmakers that GME distributes were featured in screenings around New York City and internationally, at such venues as Anthology Film Archives, e-Flux Screening Room, and the Berlin International Film Festival. The GME team also attended The Film-Makers’ Cooperative’s 65th anniversary gala benefit at Judson Memorial Church. Additionally, we welcomed a new omnibus film, commissioned by the Asian Film Archive, into our library for digital distribution to academic and cultural institutions worldwide.

Today we recap screenings, events, and celebrations from January related to GME titles, artists, and colleagues. GME kicked off the new year with Péter Lichter’s short film THE GENEVA MECHANISM: A GHOST MOVIE, which was made available to stream for free in the Adrienne Mancia Streaming Room. Notably, the new digital restoration of Warren Sonbert’s short film HALL OF MIRRORS (1966) screened at the Centre Pompidou as part of their series On Violence in America. GME also revisited its expansive slate of new titles offered as Digital Site Licenses last fall, ahead of our new releases this spring.

On December 5th, GME presented the little-seen 1955 television remake of THE MIRACLE ON 34TH STREET in the Adrienne Mancia Streaming Room. This month, GME presents another little-seen television remake of a classic story that has been reproduced numerous times for screens big and small: the 1966 CBS Playhouse broadcast of Tennessee Williams’ play THE GLASS MENAGERIE.

Today we recap screenings, events, and celebrations from December (and the end of November) related to GME titles, artists, and colleagues. Notably, GME announced the digital distribution of Jim Hubbard’s seminal film ELEGY IN THE STREETS (1989) on the occasion of World AIDS Day, and offered new programming in the Adrienne Mancia Streaming Room. Additionally, Deborah Willis launched the publication of the 25th anniversary edition of her book REFLECTIONS IN BLACK at NYU, for which GME licensed three photographs by Hugh Bell. Furthermore, four Warren Sonbert films screened in South Korea, while the films of Vivian Ostrovsky were celebrated with a career-spanning retrospective in Berlin, accompanied by a brochure featuring an original essay by GME President Jon Gartenberg.

In August 2025, GME announced its move towards focusing on the distribution of film titles from our library as digital files. As the educational film market has shifted from 16mm film distribution to DVD and Blu-ray editions, and most recently streaming, the contours of film history are being radically reshaped. Well-known films are now re-released in new, high-quality digital transfers by film archives and boutique publishers, and lesser-known films from the course of moving image history are made available for the first time in digital formats. In March 2020, with the rise of Covid-19 and the shift to remote teaching, the demand for server-based digital media over disk distribution has grown exponentially, and librarians have been tasked with rethinking the physical moving image format for their teaching programs.

In recognition of these technological changes — from celluloid to video to digital and beyond — GME presents Péter Lichter’s timely and fascinating short film THE GENEVA MECHANISM: A GHOST MOVIE in the Adrienne Mancia Streaming Room this month.