Arts

Part of: Food and Film Presented by the UCLA Film & Television Archive and the Hammer Museum Just as every memorable dinner harmonizes textures and flavors to create something more than the sum of its parts — of the type that feels like “a kind of love affair” — so too does Danish director Gabriel Axel’s Babette’s Feast. A dash of piety, a splash of romance, a hint of heartache, a touch of splendor, and generous portions of human frailty and desire all come together in Axel’s framing, Henning Kristiansen’s cinematography and the delicate performances of its outstanding cast to make you fall in love with the movies and dining, all over again. We’re pleased to present this Academy Award-winning classic of the culinary screen to mark the fifth anniversary of Lulu at the Hammer Museum. Programmed and note written by Senior Public Programmer Paul Malcolm.

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The program includes compositions by Lili Boulanger, Maurice Ravel, and Felix Mendelssohn. Please visit the event website for full details and ticket information.

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Part of: Ryusuke Hamaguchi: Early Works Presented by the UCLA Film & Television Archive and the Yanai Initiative When Drive My Car won the Oscar for Best International Feature Film in 2022, on top of being the first Japanese film ever nominated for Best Picture, it may have appeared to many as if its director, Ryusuke Hamaguchi, had come out of nowhere to accomplish such a feat. Still others may have known him as the director of the four-hour tour-de-force relationship drama, Happy Hour, when it generated cinephile buzz on the festival circuit in 2016 or perhaps the spellbinding romance-by-way-of identity-crisis, Asako I & II, when it became his first film to premiere at Cannes in 2018. But well before these milestones, Hamaguchi was busy making shorts and features that have rarely screened outside of Japan. After graduating from Tokyo University in 2003 under the influence of John Cassavetes, Hamaguchi began directing in earnest before entering Tokyo University of the Arts where Kiyoshi Kurosawa (Cure, Pulse) became a mentor. As a student and beyond, Hamaguchi took advantage of a network of non-profit, institutional support to workshop projects that allowed him to experiment with like-minded actors, screenwriters and cinematographers. Indeed, a number of his films from this period (Intimacies, Touching the Skin of Eeriness) foreground the creative process as elements of his sublimely structured mid-career style come into view. With his latest film, All of a Sudden, in theaters this November, the Archive is pleased to present this selection of early works by Hamaguchi that confirm what was to come even as they defy expectations. Series programmed and notes written by Senior Public Programmer Paul Malcolm.

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At Eye Level Photo-Stories from Six Angelenos A collaborative project with Rancho’s Violence Recovery and Prevention Program. This visual storytelling project features six Latine and Black wheelchair users with spinal cord injuries exploring photography as a way to document their everyday lives. All are former patients of Rancho Los Amigos National Rehabilitation Center in Downey and work as peer mentors and counselors with people injured by gun violence through the Rancho Violence Recovery and Prevention Program (RVRPP). Developed through a series of collaborative photography workshops, the project approaches the camera as a tool of self-representation. Bringing together portraits of the participants with photographs and stories of their homes, neighborhoods, routines, mobility, and moments of joy, the exhibition presents six distinct perspectives on disability and everyday life in Los Angeles. For more information about the gallery, please visit the Heumann Community Partnership webpage. Folleto de la exposición «At Eye Level» de los días 9 y 10, y del 11 al 13 de noviembre en la Galería de Arte Kerckhoff. A la Altura de los Ojos Historias Fotográficas de Seis Angelinos Un proyecto en colaboración con el Programa de Prevención y Recuperación de la Violencia de Rancho. Este proyecto de narración visual presenta a seis personas de raza latine y negra en silla de ruedas con lesiones medulares que exploran la fotografía como una forma de documentar su vida cotidiana. Todas ellas son antiguas pacientes del Centro Nacional de Rehabilitación Rancho Los Amigos, en Downey, y trabajan como mentoras y consejeras con personas afectadas por la violencia armada a través del Programa de Prevención y Recuperación de la Violencia de Rancho (RVRPP). Desarrollado a través de una serie de talleres colaborativos de fotografía, el proyecto aborda la cámara como una herramienta de autorrepresentación. Al reunir retratos de los participantes con fotografías e historias de sus hogares, barrios, rutinas, movilidad y momentos de alegría, la exposición presenta seis perspectivas distintas sobre la discapacidad y la vida cotidiana en Los Ángeles. Para obtener más información sobre la galería, visita la página web de Heumann Community Partnership. Nov 09, 2026 - Nov 13, 2026 Kerckhoff Art Gallery, Kerckhoff Hall Level 2 7am-10pm

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Join us for the opening reception of At Eye Level. Light refreshments will be served. Please RSVP by Friday, October 23rd. At Eye Level Photo-Stories from Six Angelenos A collaborative project with Rancho’s Violence Recovery and Prevention Program. This visual storytelling project features six Latine and Black wheelchair users with spinal cord injuries exploring photography as a way to document their everyday lives. All are former patients of Rancho Los Amigos National Rehabilitation Center in Downey and work as peer mentors and counselors with people injured by gun violence through the Rancho Violence Recovery and Prevention Program (RVRPP). Developed through a series of collaborative photography workshops, the project approaches the camera as a tool of self-representation. Bringing together portraits of the participants with photographs and stories of their homes, neighborhoods, routines, mobility, and moments of joy, the exhibition presents six distinct perspectives on disability and everyday life in Los Angeles. For more information about the gallery, please visit the Heumann Community Partnership webpage. Folleto de la recepción inaugural de «At Eye Level». La recepción tendrá lugar el 9 de noviembre, de 17:00 a 19:00, en la Galería de Arte Kerckhoff, situada en la segunda planta del edificio Kerckhoff Hall de la UCLA. El folleto incluye cuatro imágenes de muestra de la exposición fotográfica. Acompáñanos en la recepción inaugural de A la Altura de los Ojos. Se servirán unos aperitivos ligeros. Por favor, confirma su asistencia antes del viernes 23 de Octubre. A la Altura de los Ojos Historias Fotográficas de Seis Angelinos Un proyecto en colaboración con el Programa de Prevención y Recuperación de la Violencia de Rancho. Este proyecto de narración visual presenta a seis personas de raza latine y negra en silla de ruedas con lesiones medulares que exploran la fotografía como una forma de documentar su vida cotidiana. Todas ellas son antiguas pacientes del Centro Nacional de Rehabilitación Rancho Los Amigos, en Downey, y trabajan como mentoras y consejeras con personas afectadas por la violencia armada a través del Programa de Prevención y Recuperación de la Violencia de Rancho (RVRPP). Desarrollado a través de una serie de talleres colaborativos de fotografía, el proyecto aborda la cámara como una herramienta de autorrepresentación. Al reunir retratos de los participantes con fotografías e historias de sus hogares, barrios, rutinas, movilidad y momentos de alegría, la exposición presenta seis perspectivas distintas sobre la discapacidad y la vida cotidiana en Los Ángeles. Para obtener más información sobre la galería, visita la página web de Heumann Community Partnership.

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Based on the bestseller by Andy Weir, Project Hail Mary stars Ryan Gosling as a high school science teacher thrust quite unwillingly into space as Earth’s last hope for survival. Followed by a conversation with directors Phil Lord and Christopher Miller. Learn more here: https://hmmr.buzz/C26PHM

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Depicting the remarkable chance encounter in Paris of a French nursing home director and a Japanese theater director facing terminal cancer, All of a Sudden is a moving testimony to the power of human empathy. Followed by a conversation with writer-director Ryûsuke Hamaguchi Learn more here: https://hmmr.buzz/C26AOAS

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In person: Q&A with UCLA Asian American Studies Assistant Professors Loubna Qutami and Nour Joudah, moderated by UCLA Comparative Literature Ph.D. student Aciah Abdulsater. Guest speaker Every space hosts the accumulation of time and is thus a repository of memory, one that is active and dynamic. Jean Khalil Chamoun’s Women Beyond Borders (2004) and Theo Panagopoulos’ The Flowers Stand Silently, Witnessing (2024) were made two decades apart, but together they foster an ongoing conversation at the intersection of identity, memory and place across Lebanon and Palestine. Though distinct in form, the films consider the relationship between people’s lived environments and their individual and collective identities. The films navigate through spaces both historically and presently marked by displacement, violence and resilience. Both offer meditations and testimonies on how these spaces can inhabit a people’s memories, linger into their present realities and influence their futures. Rather than attempting to unearth a singular tradition, this program amplifies an ongoing cinematic conversation across Lebanon and Palestine that is rooted in intertwined histories of occupation and resistance. This conversation is an urgent one to hold today in light of the ongoing aggression against southern Lebanon and historic Palestine that continues to target complete ecosystems. This systematic surge of destruction and harm affects far beyond the physical; it seeks to fracture memory, sever a people’s sense of being and belonging, and jeopardize social relations that places sustain. The moving image as a tool presents an opportunity to forge an alternative place of memory work, one capable of preserving spatial memory, making visible the forms of erasure, and imagining continuities that exceed the violence of occupation and its imposed restriction on bodies and space. Programmed by UCLA Comparative Literature Ph.D. student Aciah Abdulsater and Archive Research and Public Access Coordinator Nicole Ucedo. Notes and concept by Aciah Abdulsater.

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n person: Pre-screening talk by Laura Horak, author, Trans Cinema: Making Communities, Identities, and Worlds. Post-screening Q&A. Archive Talks pairs leading historians and scholars with screenings of the moving image media that is the focus of their writing and research. Each program will begin with a special talk by the invited scholar that will introduce audiences to new insights, interpretations and contexts for the films and media being screened. This screening will be preceded by a book signing of Trans Cinema: Making Communities, Identities, and Worlds with author Laura Horak beginning at 6 p.m. in the lobby. The Archive first worked with archivist and scholar Laura Horak in 2022 when we presented a series of films unearthed by Horak and her collaborators, Maggie Hennefeld and Elif Rongen-Kaynakçi. Their archival project Cinema’s First Nasty Women celebrated the work of silent comedians who brought an anarchic brand of gender non-conformity to slapstick. Alongside that work, Horak is also the director of the Transgender Media Lab at Carleton University, which created the Transgender Media Portal(opens in a new tab), a database of trans creators, including links to where their work can be seen. Suffice it to say, increasing the visibility and access to the media she studies is an essential element of Horak’s ongoing research project. With her latest book, Trans Cinema: Making Communities, Identities, and Worlds, Horak dives deep into the history, practice and aesthetics of trans artists in the United States and Canada in the 21st century while positioning them within the larger history of trans media production and representation. The Archive is pleased to welcome Horak back to the Billy Wilder Theater for a brief talk about her work followed by a selection of works by trans artists and an on-stage conversation, with more special guests to be announced soon! Part of the Archive’s Legacy Project Screening Series. Support for the screening is provided by the Robert Gore Rifkind Foundation Queer Screening Endowment and The Andrew J. Kuehn Jr. Foundation.

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Director Lee Chang-dong in person Winner of the Silver Lion Grand Jury Prize at the Venice Film Festival, Possible Love marks the long-awaited return of Lee Chang-dong (Burning, Poetry), whose infrequent releases make each new film a major—and always ravishing—cinematic event. The precarious existence of a laid-off factory worker and his wife is upended when an affluent documentary filmmaker chooses them as the subjects of her latest project. Featuring an extraordinary ensemble led by Jeon Do-yeon, winner of the Cannes Best Actress prize for Secret Sunshine, the film unfolds as a haunting, slow-burning examination of class disparity, lingering trauma, and the elusive quest for human connection. Probing the mysteries of human behavior, Lee exposes the quiet hypocrisies and unspoken desires that shape how we perceive—and exploit—one another. 2026. South Korea. Written and directed by Lee Chang-dong. With Jeon Do-yeon, Sul Kyung-gu, Cho Yeo-jeong, Zo In-sung. DCP courtesy Netflix. In Korean; English subtitles. 164 min. Learn more here: https://hmmr.buzz/C26PL

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In person: Introductions and pre-screening conversation with author and film historian Howard Gutner and Deborah Nadoolman Landis, founding director and chair of the David C. Copley Center for Costume Design at UCLA. Presented by the UCLA Film & Television Archive in partnership with the David C. Copley Center for Costume Design at UCLA. Archive Talks pairs leading historians and scholars with screenings of the moving image media that is the focus of their writing and research. Each program will begin with a special talk by the invited scholar that will introduce audiences to new insights, interpretations and contexts for the films and media being screened. This screening will be preceded by a book signing of Banton of Paramount: Haute Couture in Hollywood’s Golden Age with author Howard Gutner beginning at 6:30 p.m. in the lobby.

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Olivia Wilde out-Albees Edward Albee (and out-LaButes Neil LaBute) in this viciously funny four-hander about a couple who inadvertently spice up their marriage when they invite over their swinging neighbors for a casual dinner party. Deftly adapted by Will McCormack and Rashida Jones from the popular Spanish movie Sentimental, The Invite confirms Wilde as an uncommonly, if unsurprisingly, gifted director of actors, each of whom plays their parts to perfection: the put-upon neurotic wife (Wilde, paying homage to Diane Keaton), the half-hearted husband (Seth Rogan), the Tantric seeker (Ed Norton), and the free-spirited bohemian (Penelope Cruz). 2026. USA. Directed by Olivia Wilde. Screenplay by Will McCormack, Rashida Jones. With Wilde, Penelope Cruz, Edward Norton, Seth Rogen. DCP courtesy A24. 107 min. Learn more here: https://hmmr.buzz/C26TI

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Join the UCLA Rubsamen Music Library for a Jam Session with the Herbie Hancock Institute of Jazz Performance Ensemble. The afternoon will begin with a set by the Ensemble, followed by an open jam session. No RSVP required. All are welcome to participate! Herbie Hancock Institute of Jazz Performance Ensemble at UCLA Class of 2027: Nicolaus Gelin - trumpet Nathan Gilbreath - trombone Mwanzi Harriott - guitar Elisee Ngbo - piano Yerin Kim - bass Mailo Rakotonanahary - drums

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Part of: Archive Television Treasures In person: Q&A with writer-producer Harry Friedman, actors Ruta Lee, Rich Little and Jo Anne Worley, and producer Jay Redack. Made possible by the John H. Mitchell Television Programming Endowment Premiering on NBC on October 17, 1966, Hollywood Squares became one of the most popular game shows in television history, with over 4,000 episodes of the original network incarnation produced through 1981. The longevity of the simple tic-tac-toe game was driven in large part by the show’s charismatic, quick-witted host, Peter Marshall. A talented actor and nightclub comedian, Marshall breezily tackled the daunting task of corralling the series’ boisterous, rotating stable of nine celebrities, setting up punchlines and volleying retorts with equal aplomb. While high-wattage superstars such as Vincent Price and Sammy Davis Jr. often guested, the literal center of Hollywood Squares’ towering, neon-lit set featured an icon like no other — actor and comedian Paul Lynde. Beloved by audiences of all stripes, Lynde routinely brought down the house with bawdy ad-libs and double entendres — delivered impeccably with a knowing wink. Painfully closeted in his personal life to protect his showbiz career, Lynde turned conventional wisdom of the day upside down, boldly introducing the masses to an undeniably empowered, queer-coded persona previously unseen on television. Join us as we celebrate the 60th anniversary of the premiere of Hollywood Squares and the birth centennials of Peter Marshall and Paul Lynde. Two preserved episodes will be screened, complete with original commercials, as well as an extended clip reel showcasing a galaxy of guest stars, risque retorts and the genius of Paul Lynde. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley.

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Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

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Directors Javier Calvo and Javier Ambrossi in person Known as “Los Javis,” Javier Calvo and Javier Ambrossi have written, produced, and directed together some of the most sarcastic and provocative works in recent Spanish comedy, including Holy Camp (2017) and the hilarious TV series Paquita Salas (2016–2019). With La bola negra, they ambitiously deliver a cinematic epic inspired by Federico García Lorca’s homonymous unfinished work and Alberto Conejero’s play on the tragic destiny of Republican resistance fighter, actor, and footballer Rafael Rodríguez Rapún, a former lover of Lorca. With special appearances by Penélope Cruz and Glenn Close, and starring singer-songwriter Guitarricadelafuente, La bola negra audaciously looks at the past and present of Spanish history, the traumatic period of the Spanish Civil War, and its consequences for the sentimental lives of families and secret lovers shaped by tales of resistance and oppression. Learn more here: https://hmmr.buzz/C26LBN

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Part of: The Art of the Benshi 2026 In person: benshi Ichiro Kataoka, composer and pianist Makia Matsumura. Presented by the UCLA Film & Television Archive and the Yanai Initiative The UCLA Film & Television Archive and the Yanai Initiative are honored to welcome back to the Billy Wilder Theater renowned Japanese benshi Ichiro Kataoka for a weekend of live performances timed to celebrate the new release of a Flicker Alley Blu-ray box set inspired by the national Art of the Benshi tour organized by the Archive and Yanai in 2024. During the silent film era in Japan, film screenings were accompanied by live narrators, called benshi. Full-fledged artists in their own right, benshi familiarized and enlivened the cinema experience in Japan through expressive performances that illuminated and extended the emotional and thematic range of the works on screen. The art, today, is carried on by a small group of specialized performers who have been apprenticed by the preceding generations of benshi, creating a continuous lineage back to the original performers. Kataoka will be joined on stage by another veteran of the 2024 tour, composer and pianist Makia Matsumura, who will accompany his original performances with original scores. Every benshi event is a unique, live experience but this weekend’s program will be especially memorable for the North American premiere of the National Film Archive of Japan’s restoration of director Teinosuke Kinugasa’s groundbreaking, always astonishing A Page of Madness on the centennial of its original release. Programmed by Ichiro Kataoka, Michael Emmerich and Paul Malcolm. Notes written by Senior Public Programmer Paul Malcolm. Special thanks to Michael Emmerich and Elizabeth Leicester, Yanai Initiative; National Film Archive of Japan.

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Join Hannah Feldman, Keith L. and Katherine Sachs Associate Professor of Contemporary Art at the University of Pennsylvania, for a lecture on Huguette Caland (1931–2019), the subject of the retrospective currently on view at the Hammer until February 28, 2027. In her talk, Feldman–the curator of the exhibition–will trace the artist's relationship to the line, both written and drawn, throughout her life and a career that spanned Beirut, Paris, and Los Angeles. As the line is called upon in Caland's work to express, delineate, define, and sometimes occlude, Feldman follows its curves and undulations to examine Caland's works' relationship to the body and community, as well as to identify the overarching concerns with autonomy and freedom that reverberate across her oeuvre, be it realized in painting, drawing, sculpture, writing, or fashion design. Learn more here: https://hmmr.buzz/HCturns

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Part of: The Art of the Benshi 2026 In person: benshi Ichiro Kataoka, composer and pianist Makia Matsumura. Presented by the UCLA Film & Television Archive and the Yanai Initiative The UCLA Film & Television Archive and the Yanai Initiative are honored to welcome back to the Billy Wilder Theater renowned Japanese benshi Ichiro Kataoka for a weekend of live performances timed to celebrate the new release of a Flicker Alley Blu-ray box set inspired by the national Art of the Benshi tour organized by the Archive and Yanai in 2024. During the silent film era in Japan, film screenings were accompanied by live narrators, called benshi. Full-fledged artists in their own right, benshi familiarized and enlivened the cinema experience in Japan through expressive performances that illuminated and extended the emotional and thematic range of the works on screen. The art, today, is carried on by a small group of specialized performers who have been apprenticed by the preceding generations of benshi, creating a continuous lineage back to the original performers. Kataoka will be joined on stage by another veteran of the 2024 tour, composer and pianist Makia Matsumura, who will accompany his original performances with original scores. Every benshi event is a unique, live experience but this weekend’s program will be especially memorable for the North American premiere of the National Film Archive of Japan’s restoration of director Teinosuke Kinugasa’s groundbreaking, always astonishing A Page of Madness on the centennial of its original release. Programmed by Ichiro Kataoka, Michael Emmerich and Paul Malcolm. Notes written by Senior Public Programmer Paul Malcolm. Special thanks to Michael Emmerich and Elizabeth Leicester, Yanai Initiative; National Film Archive of Japan.

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Followed by a conversation with director David Greaves and producer Liani Greaves The great American filmmaker William Greaves, who in his illustrious career of more than 50 years documented the civil rights movement and historical figures like Muhammad Ali, Paul Robeson, Ida B. Wells, and Raphe Bunche, who executive produced the groundbreaking PBS news program Black Journal, and who wrote and directed the radically experimental fiction hybrid Symbiopsychotaxiplasm, had one last trick up his sleeve before his death in 2014: He left behind an extraordinary archive of unedited footage from a cocktail party he staged and hosted in 1972 at the home of Duke Ellington, an astonishingly vital and poignant gathering of luminaries from the Harlem Renaissance, many of whom had not seen each other for nearly a half century. Among those assembled were the artists Aaron Douglas and Romare Bearden, the composers Eubie Blake and Noble Sissle, the photographer James Van Der Zee, the poet Arna Bontemps, and the actor Leigh Whipper. Now, some 50 years later, Greaves’ son David, one of three cameramen filming that day, has shaped this never-before-seen material into the beautiful and indelible Once Upon a Time in Harlem, carrying on the work of Greaves’ wife and longtime partner Louise Archambault Greaves and collaborating with Greaves’ granddaughter Liani and Anne de Mare as producers. Learn more here: https://hmmr.buzz/C26OUTH

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As Clarissa (Sophie Okonedo) prepares a glamorous party at home, a young soldier (Fortune Nwafor) grapples with PTSD following his deployment in the fight against the Boko Haram insurgency in Nigeria. After their inaugural feature, Eyimofe: This Is My Desire, Nigerian twin brothers Arie and Chuko Esiri boldly adapt Virginia Woolf’s masterpiece, Mrs. Dalloway, to contemporary Lagos, turning it into a captivating, free-flowing journey that weaves past and present through the memories, affairs, and unfulfilled platonic dreams of close friends. Clarissa is a dazzling, meticulous exploration of privilege, lost time, and post-colonial heritage, graciously played by a formidable cast and complemented by an equally exceptional musical soundtrack. Learn more here: https://hmmr.buzz/C26C

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Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

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Part of: Archive Television Treasures In person: writer-director Reginald Hudlin, producer-director Stan Lathan, NYU Associate Professor Josslyn Luckett Presented by the UCLA Film & Television Archive and the Directors Guild of America. Made possible by the John H. Mitchell Television Programming Endowment. In a trailblazing entertainment industry career spanning over half a century, producer-director Stan Lathan continues to leave an indelible creative mark. His groundbreaking work in television began with directing the PBS public affairs and documentary series Say Brother and Black Journal, which were produced to give voice to Black communities following the assassination of Dr. Martin Luther King, Jr. Later summoned by Redd Foxx to work on Sanford and Son as one of the few Black directors in primetime television, Lathan went on to helm episodes for a wide range of hit series, from Hill Street Blues to Roc. A formidable talent, he also directed numerous pilots that launched highly successful series, including Amen and Moesha. In a career of milestones, following his theatrical feature Beat Street (1984), Lathan partnered with Russell Simmons to create Def Comedy Jam and Def Poetry Jam for HBO, the latter garnering the duo a Peabody Award. Among multiple Emmy, Grammy and Tony Awards and too many other major awards to mention, Lathan was recognized with a CINE Golden Eagle and an American Film Festival Blue Ribbon for directing the American Playhouse telefilm Go Tell It on the Mountain (1985). In perhaps the highest accolade possible, cultural titan James Baldwin publicly pronounced his love of the TV adaptation of his seminal work. Join us as we celebrate Stan Lathan with a screening of Go Tell It on the Mountain, introduced by NYU Associate Professor Josslyn Luckett. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley.

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Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

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In person: director Raha Shirazi. Presented by the UCLA Film & Television Archive and Farhang Foundation In this powerful documentary, director Raha Shirazi tells of the generational struggle of Iranian women to achieve basic human rights, from the suffrage movement under the Shah in the 1960s to the Women, Life, Freedom Movement sparked by the death of Mahsa Amini in 2022. While a group of high profile activists speak on camera, including Mahnaz Afkhami, Asieh Amini, Masih Alinejad and Shaparak Shajarzadeh, it’s the anonymous girls and women demonstrating in classrooms, homes, offices and on the streets, as seen in archival news footage and more recent TikTok videos, that are the film’s real focus. As each generation has evolved new strategies to advance the cause, their unwavering commitment to freedom remains an inspiring constant. Programmed and note written by Senior Public Programmer Paul Malcolm. Program generously funded by the Farhang Foundation.

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Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

#Arts #MovieFilm

Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

#Arts #MovieFilm

The program includes compositions by Johannes Brahms, Arnold Schoenberg, and Pyotr Tchaikovsky. Please visit the event website for full details and ticket information.

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