Currents
Currents Program 2: The Visible Invisible
James Richards, Artavazd Pelechian, Johann Lurf, Morgan Fisher
This program includes James Richards’s Fevers, Artavazd Pelechian’s The End, Johann Lurf’s Forever…Forever, and the world premiere of Morgan Fisher’s Screening Room. Note: Screening Room will be included only at screenings in the Walter Reade Theater.
- Runtime
- 67 min
- Country
- Germany/
Armenia/ Austria/ France/ U.S. - Language
- English
- More information
- Official film page
Screenings
Fevers
James Richards, 2026, Germany, 31m
U.S. Premiere
Fevers
Text on a spectral gray background gives way to a disorienting irregular flicker. A foreboding soundtrack of buzzy drones and whirring motors lends a menacing color to febrile declarations of indefinite love. Eyes emerge from darkness, peering at us from faces carved in rock. James Richards’s Fevers floods the screen with images and impressions, enacting an alternately frenzied and melancholic search for meaning in the gap between language, gesture, and sensation.
The End / Վերջը
Artavazd Pelechian, 1992, Armenia, 9m
U.S. Premiere of Restoration
A staggering meditation on landscapes and travel, The End captures a train ride from Moscow to Yerevan, rendered by Pelechian as a kind of hymn outside of time, conjured through the mystery of the human face, the rumbling of mechanized transport, and the revelatory play of light.
Forever…Forever
Johann Lurf, 2026, Austria/France, 70mm, 21m
U.S. Premiere
Forever…Forever. Courtesy of sixpackfilms.
Space and time expand and contract in Johann Lurf’s film, as time-lapse photography captures a tranquil landscape and the sun’s transit in the mirrored surface of a lake. At once intimate and cosmic, Forever…Forever collapses the scales of human and geologic time, immersing us in the everyday and the infinite. The film was shot on a specially developed 65mm camera and is presented on 70mm in the Walter Reade Theater and 35mm in the Elinor Bunin Munroe Film Center.
Travel support generously provided by the Austrian Cultural Forum New York.
Screening Room
Morgan Fisher, 1968/2026, U.S., 35mm, 6m
World Premiere
Screening Room
Initiated in 1968, Morgan Fisher’s Screening Room is a site-specific work, a film remade for and shown only in the place in which it was filmed. This latest version (or, to use Fisher’s term, “state”) of the film—with production executed by filmmaker James N. Kienitz Wilkins with the support of Mostly Works and camerawork by Dan Fridman—leads the spectator into Film at Lincoln Center’s Walter Reade Theater in a single tracking shot, a journey that unveils cinema’s enigmatic status as, at once, a physical space, a filmic object, and an ephemeral image.
Note: Screening Room will be included in this program only at screenings in the Walter Reade Theater.
Fevers
James Richards, 2026, Germany, 31m
U.S. Premiere
Fevers
Text on a spectral gray background gives way to a disorienting irregular flicker. A foreboding soundtrack of buzzy drones and whirring motors lends a menacing color to febrile declarations of indefinite love. Eyes emerge from darkness, peering at us from faces carved in rock. James Richards’s Fevers floods the screen with images and impressions, enacting an alternately frenzied and melancholic search for meaning in the gap between language, gesture, and sensation.
The End / Վերջը
Artavazd Pelechian, 1992, Armenia, 9m
U.S. Premiere of Restoration
A staggering meditation on landscapes and travel, The End captures a train ride from Moscow to Yerevan, rendered by Pelechian as a kind of hymn outside of time, conjured through the mystery of the human face, the rumbling of mechanized transport, and the revelatory play of light.
Forever…Forever
Johann Lurf, 2026, Austria/France, 70mm, 21m
U.S. Premiere
Forever…Forever. Courtesy of sixpackfilms.
Space and time expand and contract in Johann Lurf’s film, as time-lapse photography captures a tranquil landscape and the sun’s transit in the mirrored surface of a lake. At once intimate and cosmic, Forever…Forever collapses the scales of human and geologic time, immersing us in the everyday and the infinite. The film was shot on a specially developed 65mm camera and is presented on 70mm in the Walter Reade Theater and 35mm in the Elinor Bunin Munroe Film Center.
Travel support generously provided by the Austrian Cultural Forum New York.
Screening Room
Morgan Fisher, 1968/2026, U.S., 35mm, 6m
World Premiere
Screening Room
Initiated in 1968, Morgan Fisher’s Screening Room is a site-specific work, a film remade for and shown only in the place in which it was filmed. This latest version (or, to use Fisher’s term, “state”) of the film—with production executed by filmmaker James N. Kienitz Wilkins with the support of Mostly Works and camerawork by Dan Fridman—leads the spectator into Film at Lincoln Center’s Walter Reade Theater in a single tracking shot, a journey that unveils cinema’s enigmatic status as, at once, a physical space, a filmic object, and an ephemeral image.
Note: Screening Room will be included in this program only at screenings in the Walter Reade Theater.