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Nicolás Zukerfeld’s third feature is a wry, surprising work of filmmaking-as-criticism that begins as a kind of supercut of moments from the work of pantheon Hollywood auteur Raoul Walsh. This rhythmically entrancing parade of images traces a mysterious and amusing arc across the director’s vast oeuvre—but at the halfway mark, the film reinvents itself as an idiosyncratic, essayistic investigation into memory, cinema, and their shared mutability. There Are Not Thirty-Six Ways… reimagines cinema as a medium for the generation and transmission of ideas, and the results are by turns humorous, stimulating, and thrilling.

Watch the Q&A below.

Screening with There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse:
Stump the Guesser
Guy Maddin, Evan Johnson, Galen Johnson, 2020, Canada, 19m
Surreal superimpositions, Dutch angles, strobing abstract animation, and thunderous title cards collide in this tale of a carnival mindreader who finally meets his match, told as a raucous hodgepodge of tropes derived from Soviet silent cinema. Expanding Guy Maddin’s strange universe alongside frequent collaborators Evan and Galen Johnson, Stump the Guesser is a bizarrely humorous and modernist dystopian fable packed with incest, guessing milk, real crabs, and more.