Movie/Film

Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Long Goodbye U.S., 1973 In the opening shot of Robert Altman and screenwriter Leigh Brackett’s adaptation of Raymond Chandler’s 1953 hardboiled novel, Elliott Gould awakens as Philip Marlowe in 1970s Los Angeles like a gumshoe Rip Van Winkle. And he just rolls with it. Social mobility comes standard issue for the classic private eye and working an old school case of infidelity, theft and murder, Gould’s Marlowe moves confidently from dive bar to Malibu beach house. To this, the filmmakers add an easygoing adaptability to cultural change. This Marlowe’s Los Angeles abounds with nude yoga, political protest and other signs of an ascendent counterculture to which his nonchalant motto is “It’s okay with me.” 35mm, color, 112 min. Director: Robert Altman. Screenwriter: Leigh Brackett. With: Elliott Gould, Nina Van Pallandt, Sterling Hayden. California Split U.S., 1974 Elliott Gould and George Segal’s gamblers meet cute in a poker game, fall in with each other and seduce us into a subcultural world of heavy bettors that feels, in Robert Altman’s loose and open form, like a documentary that a couple of stars happened to have wandered into. When they’re on a roll, they spend their winnings with a pair of sex workers who provide a poignant note to the men’s highflying hustles. It’s almost disappointing when the vaguest story arc creeps in after Segal’s punter hits a cold streak but its (anti)climactic final scene is one of the unsung triumphs of the New Hollywood. DCP, color, 108 min. Director: Robert Altman. Screenwriter: Joseph Walsh. With: George Segal, Elliott Gould, Ann Prentiss. —Senior Public Programmer Paul Malcolm

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Thieves Like Us U.S., 1974 Like the camp announcements in M*A*S*H, a stream of radio broadcasts layer context and commentary into Robert Altman’s Depression-era period piece about a trio of small-time bank robbers in the rural south. They’re also an early clue that Altman here is more interested in exploring time, place and character than indulging in action set pieces. Indeed, despite a string of robberies, we don’t enter a bank with the gang until late in the film. In rustic hideouts and safe houses, a tender love story emerges instead between Keith Carradine’s criminal and Shelley Duvall’s ingenue, a chimera of hope in a country left to fate. 35mm, color, 123 min. Director: Robert Altman. Screenwriters: Robert Altman, Joan Tewkesbury, Calder Willingham. With: Keith Carradine, Shelley Duvall, John Schuck. Kansas City U.S., 1996 Robert Altman’s homage to Kansas City, Missouri, of the 1930s, where he was born and raised, brings its innovative jazz scene to rip-roaring life within a story about the improvisations of survival required during the Depression. When her small-time hood husband (Dermot Mulroney) falls into the hands of a vengeful gambler (a wickedly smooth Harry Belafonte), Jennifer Jason Leigh’s brassy manicurist kidnaps the wife (Miranda Richardson) of a prominent politician (Michael Murphy) on the eve of an election to force his intervention. It’s a desperate hustle in a city where some have to make it up as they go along while the wheels of power roll on. 35mm, color, 116 min. Director: Robert Altman. Screenwriters: Robert Altman, Frank Barhydt. With: Jennifer Jason Leigh, Miranda Richardson, Harry Belafonte.

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Part of: Robert Altman’s America: A Centennial Review

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Part of: Robert Altman’s America: A Centennial Review Presented by the UCLA Film & Television Archive Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Player U.S., 1992 Not even the bitterest satire of Hollywood can escape mythologizing its subject to some degree. That’s the nature of the beast. Director Robert Altman and screenwriter Michael Tolkin lean into the dilemma, wrapping their sharp lampoon of corporate Hollywood’s solipsistic obsession with recycled concepts and the bottom line (Out of Africa meets Pretty Woman, anyone?) in a noir-soaked murder mystery straight from an old Hollywood writers room. This deep now into the age of streaming, it’s this blend of eras that makes The Player something more than a time capsule parade of celebrity cameos. For all its scathing insider’s critique, it captures more than most our love-hate relationship with our mythmakers.—Senior Public Programmer Paul Malcolm DCP, color, 124 min. Director: Robert Altman. Screenwriter: Michael Tolkin. With: Tim Robbins, Greta Scacchi, Fred Ward.

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Part of: Archive Treasures Presented by the UCLA Film & Television Archive In-person: Steven K. Hill, UCLA associate motion picture curator, co-founder of Silent Movie Day. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The UCLA Film & Television Archive is getting the jump on Silent Movie Day(opens in a new tab) this year which officially falls on September 29, but we just can’t wait to show our support for the preservation and exhibition of silent films! It is with great pleasure that we present this special screening in solidarity with theaters around the world celebrating the glorious silent era. The Little American U.S., 1917 This year we celebrate Silent Movie Day with Mary Pickford and Cecil B. DeMille’s war-time classic, The Little American. Written by longtime DeMille collaborator Jeanie Macpherson, Angela (Pickford) finds herself torn between two lovers — one French (Raymond Hatton), one German (Jack Holt) — and follows them to Europe as they fight on opposite sides of the trenches. The UCLA Film & Television Archive photochemically restored The Little American in 1990 from DeMille’s personal 35mm nitrate print and a nitrate negative fragment. In 2019, the Archive partnered with the Mary Pickford Foundation to scan the preservation duplicate picture negative in 4K as the basis for the current digital restoration.—Associate Motion Picture Curator Steven K. Hill DCP, b&w, silent with musical accompaniment, 63 min. Director: Cecil B. DeMille. Screenwriter: Jeanie Macpherson, Clarence J. Harris, Cecil B. DeMille. With: Mary Pickford, Jack Holt, Raymond Hatton.

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In-person: Q&A with Associate Professor Josslyn Luckett, NYU Cinema Studies (before "A Crushing Love"). Luckett will sign copies of "Toward a More Perfect Rebellion: Multiracial Media Activism Made in L.A." before the screening beginning at 6:30 p.m. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Agueda Martinez: Our People, Our Country U.S., 1977 This Academy Award–nominated short documentary offers a luminous portrait of 80-year-old Navajo great-grandmother Agueda Martinez, whose life is deeply rooted in the land of New Mexico. Sepia-toned family photos paired with Agueda’s confident voice-over ground the film as we witness intimate footage of her plowing fields, harvesting crops, tending livestock and weaving intricate serape blankets late into the night. Agueda's insightful reflections on herbs, spirituality and ancestry reveal generational knowledge sustained by a profound connection to place and ritual. This quietly powerful work stands as a timeless celebration of steadfast stewardship of sacred land.—Public Programmer Beandrea July DCP, color, 16 min. Director: Esperanza Vasquez. Water Ritual #1: An Urban Rite of Purification U.S., 1979 Created with performer Yolanda Vidato, this short is a pioneering work of Black feminist and experimental filmmaking. Shot in 16mm black-and-white in an area of Watts cleared for the unbuilt I-105 freeway and later abandoned, the film follows Milanda (Vidato) through symbolic, improvisational acts that layer African, Caribbean and urban Los Angeles imagery. Structured as a ritual for filmmaker Barbara McCullough’s “participant-viewers,” it honors Black and Third World women’s beauty and self-possession while also confronting how poverty and systemic neglect shape the landscape. As the film explores themes of resilience and psychic survival, it transforms a site of urban blight into consecrated ground.—Jacqueline Stewart 35mm, color, 6 min. Director: Barbara McCoullough. Restored by the UCLA Film & Television Archive. Funded with a grant from the National Film Preservation Foundation’s Avant-Garde Masters Grant Program funded by The Film Foundation. Wong Sinsaang U.S., 1971 Opening with the hiss of steam machines and the chatter of white customers in his father’s Silver Lake dry cleaning business, this short contrasts stereotype with intimacy, revealing Mr. Wong’s rich inner life. By narrating his own conflicted feelings of admiration and frustration and juxtaposing the grind of the laundromat — where Mr. Wong endures daily humiliations — with serene images of him practicing tai chi and writing poetry, Eddie Wong crafts a bittersweet document of immigrant labor and his father’s search for dignity and prosperity.—guest programmer Josslyn Luckett DCP, b&w, 12 min. Director: Eddie Wong. I Don’t Think I Said Much U.S., 1975 This tender portrait of Japanese American gardener Elmer Uchida blends documentary and fiction, opening with still photographs and disembodied voices before unfolding in slow-motion scenes of his daily work. Archival material, scripted commentary and intimate voice-over enrich the portrait, while UCLA Ethno-Communications filmmaker Jeff Furumura transforms the rhythms of gardening and Suiseki (Japanese rock appreciation) into poetic meditations on dignity and beauty. The result is a film that honors the quiet artistry and depth of a life too often overlooked.—guest programmer Josslyn Luckett DCP, b&w, color, 16 min. Director: Jeff Furumura. The Horse U.S., 1973 In this film based on writer-director Charles Burnett’s unpublished short story, a young Black boy gently comforts a horse fated to be killed on a remote California ranch. As three white men look on and hurl racial slurs at his absent father, tension builds. When the father (played by fellow UCLA Ethno-Communications alum Larry Clark) arrives, Burnett, exercising noticeable restraint, captures a fleeting moment of tenderness before shifting to the grim task at hand. Through the boy’s gaze, we feel the weight of witnessing the dehumanizing labor his father’s generation endured under white employers.—guest programmer Josslyn Luckett 35mm, color, 14 min. Director/Screenwriter: Charles Burnett. Restored by the UCLA Film & Television Archive. Funded in part with a grant from the National Film Preservation Foundation. Sleepwalker U.S., 1971 This quiet, dreamlike study of solitude and the aftermath of political struggle follows an Asian American typist through long bus rides and monotonous office work. Her exhaustion is evident in aching hands and downcast glances. When she skips work for a wandering walk, fleeting moments of play and memory emerge. Shot on 16mm in black-and-white with layered imagery and a striking soundscape, the film draws on director Laura Ho Fineman’s real-life activism

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In-person: Associate Professor Josslyn Luckett, NYU Cinema Studies. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Four Women U.S., 1975 Four Women transforms Nina Simone’s ballad into an experimental dance film that explores identity and survival. Dancer Linda Martina Young embodies Aunt Sarah, Saffronia, Sweet Thing and Peaches, shifting costume and movement to reflect each archetype. Filmmaker Julie Dash’s editing mirrors Simone’s vocals, pausing moments of motion before dissolving into the next image. One of the first experimental films by a Black woman filmmaker, it fuses music, dance and cinema into a bold statement of Black feminist artistry.—Public Programmer Beandrea July DCP, b&w, 10 min. Director: Julie Dash. With: Linda Martina Young. Restored by Indie Collect in collaboration with the UCLA Film & Television Archive and Women Make Movies. La Raza: “Celebration” U.S., 1974 “For la raza, we live to celebrate life,” declares host Ricardo Montalbán at the start of this episode, which captures the vibrancy of Mexican American celebrations and cultural traditions. Part of the six-episode McGraw Hill public affairs series La Raza that aired in 1974, it is directed by husband-and-wife UCLA Ethno-Communications alumni Moctesuma Esparza and Esperanza Vasquez. Blending Montalbán’s classic charm with intimate footage of community gatherings and dazzling musical performances, the episode foregrounds the richness of la vida and delivers an affirming portrait of a people too often overlooked or stereotyped on screen.—Public Programmer Beandrea July DCP, color, 53 min. Directors: Moctesuma Esparza, Esperanza Vasquez. With: Ricardo Montalbán. Cruisin’ J Town U.S., 1975 Directed by Duane Kubo, who earned a UCLA bachelor’s degree in astronomy and astrophysics in 1974, this short documentary explores the roots of the popular jazz fusion band Hiroshima in Los Angeles’ pre-redevelopment Little Tokyo. The group members discuss the sociological, political and cultural pulse of the early 1970s while reflecting on influences in Asian American music.—guest programmer Josslyn Luckett DCP, color, 26 min. Director: Duane Kubo. Cycles U.S., 1989 This exuberant experimental drama follows Rasheeda Allen as she anxiously awaits her overdue period. Blending live action with animation, filmmaker Zeinabu irene Davis draws on Caribbean folklore to craft a film language rooted in African American women’s experiences. As Rasheeda cleans her home and performs purification rituals, a layered soundtrack of African and diasporic music, including artists like Miriam Makeba and Clora Bryant, deepens the film’s sensory world. Hailed as “a brilliantly innovative reflection on Black womanhood” by the Los Angeles Times, Davis’ bold imagination shines.—Public Programmer Beandrea July DCP, b&w, 17 min. Director/Screenwriter: Zeinabu irene Davis. Part of: Toward a More Perfect Rebellion: Multiracial Student Activism at UCLA

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Presented by the UCLA Film & Television Archive and made possible by the John H. Mitchell Television Programming Endowment Part of: Archive Television Treasures In-person: Introduction by former Television Archivist Dan Einstein. Q&A with dancer and actor Barrie Chase. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. On October 17, 1958, the supreme talents of Fred Astaire leapt off of small screens across the United States in living color on NBC. Executive produced by Astaire, the innovative An Evening With Fred Astaire represents a creative zenith and technical milestone as one of the earliest television specials utilizing color videotape. Serving as a showcase for the peerless dancing that made Astaire a beloved international star, the critically acclaimed TV special was honored with nine Emmy Awards across artistic and technical categories along with a Peabody Award. Notably, the program paired maestro Astaire with Barrie Chase, an extremely gifted dancer of athleticism and grace whom Astaire would later name as one of his favorite dance partners in his legendary career. In 1987, An Evening With Fred Astaire enjoyed further accolades as the UCLA Film & Television Archive presented the special to new audiences following an arduous restoration process of the original 2 in. color videotape masters. The technically challenging preservation project garnered engineers Ed Reitan and Don Kent, Television Archivist Dan Einstein and the Archive technical Emmy Awards. Virtually unseen since airing on the Disney Channel in 1987, join us for a rare screening of the television landmark An Evening With Fred Astaire and its masterful follow-up Another Evening With Fred Astaire (1959). In between episodes there will be a Q&A with dancer and actor Barrie Chase, co-star of the Fred Astaire specials, moderated by Maya Montañez Smukler, Archive Research and Study Center Officer. Introduction by former UCLA Television Archivist Dan Einstein. Program notes by Mark Quigley, John H. Mitchell Television Curator. An Evening With Fred Astaire U.S., 10/17/1958 In this first of four groundbreaking color specials starring Fred Astaire broadcast by NBC between 1958 and 1968, program executive producer and star Astaire, and his new dance partner Barrie Chase, set the small screen ablaze to unprecedented critical acclaim. Highlights include “Change Partners” with a luminous Astaire and Chase and the jazz stylings of Jonah Jones and his Quartet. DCP, color, 60 min. NBC. Production: Ava Productions, in association with the NBC Television Network. Executive Producer: Fred Astaire. Producer: Bud Yorkin. Director: Bud Yorkin. With: Fred Astaire, Barrie Chase, Jonah Jones Quartet. Preserved by the UCLA Film & Television Archive (Dan Einstein), Don Kent, Ed Reitan Jr. Another Evening With Fred Astaire U.S., 11/4/1959 Also produced and directed by the great Bud Yorkin, this electric follow-up reunited the award-winning creative team from Astaire’s acclaimed first special, including indispensable stars Barrie Chase and the Jonah Jones Quartet. Joining the living color festivities are Astaire’s favorite drummer Alvin Stoller and The Bill Thompson Singers. DCP, color, 60 min. NBC. Production: Ava Productions. Executive Producer: Fred Astaire. Producer: Bud Yorkin. Director: Bud Yorkin. With: Fred Astaire, Barrie Chase, Jonah Jones Quartet. Preserved by the UCLA Film & Television Archive (Dan Einstein), Don Kent, Ed Reitan Jr. UCLA would like to express its sincere gratitude to Mrs. Fred Astaire for the privilege of presenting these two nostalgic Fred Astaire Specials. An Evening With Fred Astaire Copyright © 1958 Mrs. Fred Astaire. Another Evening With Fred Astaire Copyright © 1959 Mrs. Fred Astaire.

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In-person: Q&A with filmmaker Allison de Fren, filmmakers and programmers Evelyn Kreutzer and Kevin B. Lee, Professor Kriss Ravetto-Biagioli, vice chair of UCLA Cinema and Media Studies, and Professor Amy Villarejo, UCLA School of Theater, Film and Television. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. A selection from the Hearst Metrotone News Collections of early conceptions of automation and “robots” in the home, office and night club will play interspersed throughout the program. Latencies of the Statistical Image Catalunya, 2024 The essay explores the genealogies that link today’s computer vision and artificial intelligence imaging systems to 19th-century scientific research's use of photography. Using the work of Étienne-Jules Marey and Francis Galton as case studies, the essay encourages an analysis of the latencies or cultural mutations manifest in the operative images of both periods.—Roc Albalat DCP, color, 9 min. Director: Roc Albalat. The Twilight Zone: “From Agnes — With Love” U.S., 2/14/1964 A simple task for a computer engineer becomes an all-encompassing problem when emotions get involved in this tale of man vs. technology.—Programming Coordinator Nicole Ucedo DCP, b&w, 25 min. CBS/Cayuga. Producers: William Froug, Rod Serling. Director: Richard Donner. Writer: Bernard C. Schoenfeld. With: Wally Cox, Ralph Taeger, Sue Randall. Fembot in a Red Dress U.S., 2015 Fembot in a Red Dress analyzes the cultural trope of the “lady in red” as it evolved from the genre of film noir to science fiction and from the human to the artificial female in a variety of film and television texts. Through juxtaposed sequences of fembots, “ladies in red,” and a combination of the two, the work attempts to mine the potential of the “critical supercut” not only for laying bare gendered patterns of representation, but also for uncovering subtle variations in meaning across cinematic texts and contexts.—Allison de Fren DCP, color, 13 min. Director: Allison de Fren. Not Exactly a Still Life Switzerland, 2024 Alfred Hitchcock’s Vertigo is a film about the drive to repeat and reproduce lost things, and the failure to do so. What would it mean to repeat the images of this repetitious film with the help of AI — but as disturbing (failed) dreams rather than an exact replica? We begin to imagine a new film within the one we know. AI gives us back the history of cinema — as an uncanny double.—Johannes Binotto DCP, color, 4 min. Director: Johannes Binotto. Toute la data du monde Switzerland, 2025 An experimental short essay film that reimagines Alain Resnais’ iconic 1956 essay film Toute la mémoire du monde (1956) for the AI age. Resnais’ film, on the surface a documentary portrait of the National Library of France, has commonly been understood as a meditation on the crisis of memory, knowledge and ethics after the horrors of World War II. Toute la data du monde takes some of Resnais’ images and questions as inspiration and applies them to this new current crisis of memory, knowledge and archivization in the age of AI. Through surreal, meditative and entirely AI-generated images, it suggests what the libraries of artificial intelligence and data might look like.—Evelyn Kreutzer DCP, b&w, in French with English subtitles, 4 min. Director: Evelyn Kreutzer Afterlives (excerpt) Germany/Belgium/France, 2025 Afterlives is a desktop documentary that critically engages with the historical and digital traces of extremist propaganda, questioning how images of violence circulate, mutate and persist. This excerpt explores how online platforms, including generative AI models, facilitate the disappearance and reappearance of extremist media.—Kevin B. Lee DCP, color, 7 min. Director: Kevin B. Lee. Part of: The Future of Reality: From Locarno to L.A.

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In-person: Q&A with filmmaker Adele Tulli, moderated by guest programmer Kevin B. Lee. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Real Italy, 2024 Adele Tulli’s Real is a hypnotic and rhythmic journey via close encounters with AI, the internet and avatars. The observational documentary examines how and what people are using the internet for, as well as newer technologies that are emerging daily. As more communities form online, less human to human interaction is witnessed. This haunting portrait of human engagement with technologies focuses on influencers, children and everyone in between who is learning and adapting to AI and new tech at a rapid rate, from Korea to Italy and the U.S.—Programming Coordinator Nicole Ucedo DCP, color, in Korean, English, Italian and German with English subtitles, 83 min. Director/Screenwriter: Adele Tulli. Part of: The Future of Reality: From Locarno to L.A.

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Presented by the UCLA Film & Television Archive and the Hammer Museum All Family Flicks screenings are free admission. Seating is first come, first served. The Billy Wilder Theater opens 15 minutes before each Family Flicks program. Willy Wonka and the Chocolate Factory U.S., 1971 A golden ticket found in a chocolate bar leads young Charlie Bucket and four other lucky children on a marvelous adventure through the wondrous world of Willy Wonka’s chocolate factory. Along with chocolate rivers, Oompa-Loompas and a chance to win a lifetime supply of chocolate comes a few life lessons along the way in this musical adaptation of Roald Dahl’s children’s classic. DCP, color, 100 min. Director: Mel Stuart. Screenwriter: Roald Dahl. With: Gene Wilder, Peter Ostrum, Jack Albertson. Recommended for ages 8+ Part of: Family Flicks

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Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. “Listen Asshole” performed on Russell Simmons Presents Def Poetry, Season 1, Episode 2 (excerpt) U.S., 2001 Michelle Myers and Catzie Vilayphonh — founding members of the Philadelphia-based spoken word duo Yellow Rage — made history in 2001 as the first Asian American women featured on HBO’s Russell Simmons Presents Def Poetry, more commonly known as Def Poetry Jam. Part slam poem, part manifesto, their searing group piece “Listen Asshole” was born of frustration and a desire to “shatter stereotypes of Asian American women as passive, quiet, and demure,” and earned a standing ovation for its unapologetic anger, sharp wit and fierce reclamation of voice. Hosted by rapper Mos Def, the first season of Def Poetry Jam was taped at New York City’s Supper Club. DCP, color, 5 min. Director: With: Michelle Myers, Catzie Vilayphonh. Itty Bitty Titty Committee U.S., 2007 From director Jamie Babbit (But I’m a Cheerleader), Itty Bitty Titty Committee is a sharp, funny and affirming story of Anna (Melonie Diaz), a shy young lesbian whose life transforms when she joins the radical feminist art collective C(i)A — Clits in Action — inspired by the real-life radical feminist art collective Guerrilla Girls. Shot in gritty, guerrilla style on Super 8 and Super 16, this SXSW Jury Prize winner is an edgy, rare depiction of a young woman’s political awakening. The film pulses with a punk soundtrack featuring Sleater-Kinney, Bikini Kill and Le Tigre. As critic B. Ruby Rich wrote, “This posse of revolting dykes delivers a megadose of hope.” DCP, color, 87 min. Director: Jamie Babbit. Screenwriters: Tina Mabry, Abigail Shafran. With: Melonie Diaz, Nicole Vicius, Daniel Sea. —Public Programmer Beandrea July Part of: A Place of Rage: Women and Anger on Screen

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Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. She’s Beautiful When She’s Angry U.S., 1969 This 1969 Newsreel company short captures a fiery feminist play performed at an abortion rally, in which a beauty contestant is “prepared” by family, school and industry for the roles demanded by a sexist society. Produced during Newsreel’s peak years (1968–1972), it exemplifies the collective’s urgent, unfiltered documentation of protest, liberation movements and grassroots organizing beyond the reach of mainstream media. DCP, b&w, 17 min. Director: Newsreel Collective/Third World Newsreel. Sudden Fear U.S., 1952 A riveting Joan Crawford anchors this masterful blend of romance, suspense and noir. As playwright-turned-heiress Myra Hudson, Crawford turns in a tour-de-force performance, transforming from smitten newlywed to cunning survivor when she discovers her husband’s (Jack Palance) murderous plot. Shot on location in San Francisco, the film builds exquisite tension through shadowy visuals, razor-sharp plotting and Crawford’s electrifying emotional range — her face a shifting canvas of shock, hurt and resolve in this rediscovered classic of Hollywood’s Golden Age. The film received Academy Award nominations for Sheila O’Brien’s costume design, Charles Lang’s cinematography and the performances of both Crawford and Palance. DCP, b&w, 110 min. Director: David Miller. Screenwriters: Lenore Coffee, Robert Smith. With: Joan Crawford, Jack Palance, Gloria Grahame. —Public Programmer Beandrea July Part of: A Place of Rage: Women and Anger on Screen

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Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Portal U.S., 2022 Rodney Evans’ Portal is a visual essay capturing how Evans and friend Homay King navigate lives reshaped by the COVID-19 pandemic. Favoring human connection over isolation, the short pairs quiet images of rest — lying in bed, sleeping on a couch — with scenes of outdoor movement. Poetry, prose and intimate audio recordings from Evans and King narrate the radical changes of 2020, creating a resonant time capsule. Through its meditative visuals and lyrical storytelling, Portal invites viewers to simultaneously process their own pandemic experiences, offering a contemplative space to reflect on resilience, the power of community, and the shared impact of an extraordinary year.—Public Programmer Beandrea July DCP, color, 12 min. Director: Rodney Evans. Screenwriters: Rodney Evans, Homay King. Brother to Brother U.S., 2004 Rodney Evans’ feature debut stands firmly on the shoulders of the 1990s Queer New Wave in its unflinching portrayal of Black queer characters. Winner of the 2004 Sundance Jury Prize, it helped launch Anthony Mackie’s career and featured early roles for Aunjanue Ellis-Taylor and Lance Reddick. Mackie plays Perry, an art student grappling with homophobia and fetishization whose friendship with Bruce Nugent, a Black gay Harlem Renaissance artist and poet, inspires confidence and pride. Over 20 years later, Evans’ moving tribute to intergenerational black queer artistry stands up as a classic in modern American independent cinema.—Public Programmer Beandrea July 35mm, color, 90 min. Director/Screenwriter: Rodney Evans. With: Anthony Mackie, Roger Robinson, Ray Ford, Aunjanue Ellis. Support for the screening is provided by the Robert Gore Rifkind Foundation Queer Screening Endowment and The Andrew J. Kuehn Jr. Foundation. Part of: Legacy Project Screening Series

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In-person: Q&A with Elena Gorfinkel, author of “BFI Classics: Wanda,” moderated by Archive Research and Study Center Officer Maya Montañez Smukler. Book signing before the screening. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Wanda U.S., 1970 In 1970, Wanda screened at the Venice Film Festival as the sole U.S. entry winning the International Critics Prize. Barbara Loden, actor-turned-filmmaker, directed, produced and co-starred in the independent production, made for an estimated $100,000, in collaboration with Nicholas Proferes serving as cinematographer and editor. The feature was Loden’s directorial debut. Wanda follows Loden in a quiet and captivating portrayal of an apathetic young woman on a journey through a bleak and rural Pennsylvanian landscape. Speaking to the Los Angeles Times in 1971, Loden was clear about her approach to filmmaking: “I’ve got more movies in me, but they will have to be done my way. I’m not interested in entertaining people. I only want to do things that mean something to me, that I can say about a human being on film and then communicate that feeling to others.” In her new book, Elena Gorfinkel draws on archival sources, including scripts, interviews, production records, oral history and previously unseen ephemera, to trace the film’s feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.—Archive Research and Study Center Officer Maya Montañez Smukler 35mm, color, 105 min. Director/Screenwriter: Barbara Loden. With: Michael Higgins, Barbara Loden, Frank Jourdano. Restored by the UCLA Film & Television Archive in cooperation with Televentures Corp. and Parlour Pictures with funding provided by The Film Foundation and GUCCI.

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In-person: film preservationist and author Ross Lipman. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Notfilm U.S., 2015 10th anniversary screening Writer-director Ross Lipman’s deep dive into the production of literary giant, Irish playwright Samuel Beckett’s only movie, Film (co-directed with Alan Schneider, 1965), was hailed as one of the 10 best films of the year when it was released and stands a decade later as a master class in historical, aesthetic and thematic exposition. Weaving together primary documents, first-person interviews, archival materials and more, Lipman explores how the influences and concerns of a cavalcade of artists, both the celebrated and the obscure (including Beckett, star Buster Keaton, cinematographer Boris Kaufman and publisher Barney Rosset) coalesced — or not — into one of the most enigmatic and evocative cinematic works of the 20th century.—Senior Public Programmer Paul Malcolm DCP, color, 130 min. Director/Screenwriter: Ross Lipman. With: Kevin Brownlow, Leonard Maltin, Judith Douw. Part of: Ross Lipman and The Archival Impermanence Project

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In-person: film preservationist and author Ross Lipman, filmmaker Eleanor Antin, actor Christine Berry, violinist Alicia Svigals, pianist Donald Sosin. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Man Without a World U.S., 1991 Los Angeles restoration premiere! Through the persona of a censored, persecuted Soviet-era filmmaker, Yevgeny Antinov, writer-director Eleanor Antin constructs a captivating silent film portrait of Jewish shtetl life in 1920s Poland. Evocative of Guy Maddin, Antin remediates and repurposes period melodrama suffusing Jewish communal life before the Holocaust with mysticism, politics and homespun wisdom swirling in a pot of love, jealousy and murder. Presented with live original music composed and performed by world-renowned klezmer violinist Alicia Svigals and celebrated silent film pianist Donald Sosin, The Man Without a World was largely overlooked on its initial release but, restored in 2020, it is, as Ross Lipman writes, “ripe to at last be truly discovered.”—Senior Public Programmer Paul Malcolm DCP, b&w, silent with live musical accompaniment, 98 min. Director/Screenwriter: Eleanor Antin. With: Pier Marton, Christine Berry, Anna Henriques. Restored by Milestone Films with funding from the Sunrise Foundation for Education and the Arts. This screening was made possible with the essential support of the Sunrise Foundation for Education and the Arts. Part of: Ross Lipman and The Archival Impermanence Project

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In-person: film preservationist and author Ross Lipman, Archive Head of Preservation Jillian Borders. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Four Women U.S., 1975 Set to Nina Simone’s stirring ballad of the same name, Julie Dash’s dance film features Linda Martina Young as strong “Aunt Sarah,” tragic mulatto “Saffronia,” sensuous “Sweet Thing” and militant “Peaches.” Kinetic camerawork and editing, richly colored lighting, and meticulous costume, makeup and hair design work together with Young’s sensitive performance to turn longstanding Black female stereotypes to oblique, critical angles.—Jacqueline Stewart 16mm, color, 7 min. Director: Julie Dash. With: Linda Martina Young. The Juniper Tree Iceland, 1990 While still a graduate film student at UCLA, writer-director Nietzchka Keene used a Fulbright Fellowship to shoot this stunning folk horror story adapted from a Grimm fairytale on location in Iceland. Premiering at the Sundance Film Festival, The Juniper Tree features a pre-Sugarcubes Björk in her film debut as one of a pair of sisters (the other played by Bryndis Petra Bragadóttir) who are cast to the rocky wilds after their mother is accused of witchcraft and burned alive. The harsh but beautiful Icelandic landscape captured in dazzling black and white by cinematographer Randolph Sellars feels, as Ross Lipman writes, “so palpable it almost functions as a character.”—Senior Public Programmer Paul Malcolm 35mm, b&w, 79 min. Director/Screenwriter: Nietzchka Keene. With: Björk, Bryndis Petra Bragadóttir, Valdimar Örn Flygenring. Restored by the Wisconsin Center for Film and Theater Research and The Film Foundation, with funding provided by the George Lucas Family Foundation. Part of: Ross Lipman and The Archival Impermanence Project

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Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. A Place of Rage U.S., 1991 This insightful documentary, one of Pratibha Parmar’s early features, delivers candid interviews with activists Angela Davis, June Jordan and Alice Walker where they talk through their experiences with the Civil Rights, Black Power, Feminist and LGBTQ+ movements. As they reassess key figures like Rosa Parks and Fannie Lou Hamer, the film offers essential perspectives from the 1990s culture wars that provide vital historical context for ongoing struggles for justice and equality. DCP, color, 52 min. Director: Pratibha Parmar. With: Angela Davis, June Jordan, Alice Walker. My Name Is Andrea U.S., 2022 Pratibha Parmar’s My Name Is Andrea is a bold hybrid documentary reexamining the life and legacy of radical feminist Andrea Dworkin. Decades before #MeToo, Dworkin challenged sexism and rape culture with fearless urgency, shaped by values learned in the Civil Rights Movement. Blending rare archival footage with performances of Dworkin’s salient writing by Ashley Judd, Soko, Amandla Stenberg, Andrea Riseborough and Christine Lahti, Parmar crafts a rousing portrait of a brilliant yet misunderstood public intellectual whose searing call for justice still resonates powerfully today. DCP, color, 91 min. Director/Screenwriter: Pratibha Parmar. With: Ashley Judd, Soko, Amandla Stenberg. —Public Programmer Beandrea July Part of: A Place of Rage: Women and Anger on Screen

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Presented by the UCLA Film & Television Archive and the Hammer Museum n-person: chef and restaurateur Alice Waters. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. The Scent of Green Papaya France, 1993 Writer-director Tr?n Anh Hùng won the Caméra d’Or at Cannes for his debut feature, The Scent of Green Papaya, a luminous portrait of the sensuous world as experienced by Mùi, a young servant girl to a troubled, middle-class family, in 1950s Saigon. Taking up her duties as a child, Mùi marvels at the small wonders that suffuse the open-air home — raindrops glistening on leaves, the hum of insects, the scent of papaya in the courtyard. Preparing and sharing meals becomes central to her attunement with the rhythms of nature and family life, as well as Hùng’s larger meditation on memory, desire and the grace of the everyday.—Senior Public Programmer Paul Malcolm 35mm, color, in Vietnamese with English subtitles, 104 min. Director/Screenwriter: Tr?n Anh Hùng. With: Tran Nu Yen Khe, Man San Lu, Thi Loc Truong. Print courtesy of the Yale Film Archive. Part of: Food and Film

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Presented by the UCLA Film & Television Archive and the Hammer Museum All Family Flicks screenings are free admission. Seating is first come, first served. The Billy Wilder Theater opens 15 minutes before each Family Flicks program. The Phantom Tollbooth U.S., 1970 A mysterious tollbooth and a toy car transport young Milo to a magical, topsy-turvy world where letters are at war with numbers. Accompanied by the “watchdog” Tock, Milo embarks on a fantastical adventure to reunite the Kingdom of Wisdom in this live action/animated film based on the children’s book by Norton Juster. 35mm, color, 90 min. Directors: Chuck Jones, Abe Levitow. Screenwriters: Chuck Jones, Sam Rosen. With: Butch Patrick. Recommended for ages 8+ Part of: Family Flicks

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In-person: Professor Kathleen McHugh, UCLA School of Theater, Film and Television, will give a brief talk before the screening. Q&A to follow screening. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. I May Destroy You U.K., 2020 Michaela Coel’s I May Destroy You is a radical, genre-defying exploration of trauma, consent and creative survival in the post-#MeToo era. Professor Kathleen McHugh’s latest research on women and anger explores the topic through the series, which, McHugh argues, channels Coel’s anger as both trauma response and creative force. The result: a bold, complex portrait of survival, consent and artistic self-possession. Inspired by Coel’s own experience of assault, the series follows Arabella, a rising writer whose rape during a night out shatters her sense of reality. In Episode 1, Arabella vanishes into the night, only to wake with no memory and a wound on her forehead. Episode 9 explores how her growing online presence alienates those closest to her. The finale imagines alternate confrontations with her rapist before Arabella ultimately reclaims her narrative. Formally daring and emotionally fearless, Coel’s series resists tidy resolutions, instead offering a bold meditation on self-preservation and the messy, nonlinear work of healing. Professor McHugh will give a brief talk, followed by a screening and on-stage conversation. Episode 1: “Eyes Eyes Eyes Eyes” Digital video, color, 30 min. Max. Director: Sam Miller. Screenwriters: Michaela Coel, Sherie Myers, Stephanie Yamson. With: Michaela Coel, Weruche Opia, Paapa Essiedu, Marouane Zotti, Stephen Wight. Episode 9: “Social Media Is a Great Way to Connect” Digital video, color, 32 min. Max. Director: Sam Miller. Screenwriters: Michaela Coel, Sherie Myers, Stephanie Yamson. With: Michaela Coel, Weruche Opia, Paapa Essiedu, Stephen Wight. Episode 12: “Ego Death” Digital video, color, 34 min. Max. Directors: Michaela Coel, Sam Miller. Screenwriters: Michaela Coel, Sherie Myers, Stephanie Yamson. With: Michaela Coel, Weruche Opia, Paapa Essiedu, Lewis Reeves. —guest programmer Kathleen McHugh and Public Programmer Beandrea July Part of: A Place of Rage: Women and Anger on Screen

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In-person: cartoonist and illustrator Nathan Gelgud. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. La Chinoise France, 1967 A major influence on Nathan Gelgud’s book Reel Politik, Jean-Luc Godard’s La Chinoise follows a group of students who form a Maoist revolutionary group over their summer vacation. No lazy bunch, they start each day with calisthenics and slogans before a crowded schedule of Maoist lectures and discussions they lead themselves. Like the theater workers in Reel Politik, they learn revolution as they go. Boldly designed and obliquely stated, the film itself doubles as a catalog of its own political and aesthetic influences, with a regular stream of propaganda posters, comic books, news photos, book covers and slogans filling the frame like a cinematic syllabus for radical home schooling.—Senior Public Programmer Paul Malcolm DCP, color, in French with English subtitles, 96 min. Director/Screenwriter: Jean-Luc Godard. With: Anne Wiazemsky, Jean-Pierre Léaud, Juliet Berto. Part of: Reel Politik: Seizing the Means of Projection With Nathan Gelgud

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Made possible by the John H. Mitchell Television Programming Endowment In-person: Joe Saltzman, Alison Martino. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Premiering in 1964 on CBS affiliate KNXT (now KCBS), Ralph Story’s Los Angeles (1965–69) remains one of the most fondly remembered series in L.A. television history (and one of the most requested items in the UCLA Film & Television Archive’s collections). Created by Dan Gingold (of KNXT's historic The Big News broadcast), the locally produced Ralph Story’s Los Angeles explored the history, personalities and landmarks of L.A. in one of the first newsmagazine-styled programs on television. Foregrounding the warm, wry personality of newsman and commentator Ralph Story, the local Emmy-winning series earned high television ratings, often outperforming network programs in prime time. In later years, the innovative series inspired an entire genre of popular local TV programs covering the unique landscape of Los Angeles, including Visiting With Huell Howser. Today, the surviving episodes of Ralph Story's Los Angeles represent an invaluable moving image archival record of an evolving L.A. as it stood at mid-century. Join us for a reprise of a specially curated best of Ralph Story’s Los Angeles omnibus, last presented a decade ago to a sold-out crowd at the Archive’s This Is the City symposium. Featuring excerpts and complete episodes documenting such iconic locales as Angels Flight, Clifton’s Cafeteria, Disneyland at night, Sunset Boulevard, the long lost landmarks Hollywood Ranch Market and Beverly Park, and more! With in-person guests Joe Saltzman, producer of Ralph Story’s Los Angeles, and historian Alison Martino of Vintage Los Angeles. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. Ralph Story’s Los Angeles U.S, 1965–69 DCP, b&w and color, approx. 110 min. KNXT. Executive producer: Dan Gingold. Producer: Joe Saltzman. Director: Jim Johnson. Writer: Jere Witter, Nate Kaplan. Angels Flight segment: Executive producer: Joe Sands. Producer: Dan Gingold. Director: Dan Gingold. Writers: Jere Witter, Nate Kaplan. Preserved by the UCLA Film & Television Archive. Video transfers at DC Video; engineering services by David Crosthwait. Additional transfers at CBS Media Exchange. Special thanks to Paul Button, KCBS. Part of: Archive Television Treasures

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Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Born in Flames U.S., 1983 This radical, post-punk vision of feminist revolt is set in a dystopian New York a decade after a failed social-democratic revolution. When Adelaide Norris, founder of the Women’s Army, is mysteriously killed, women across race, class and sexual orientation unite to challenge a government bent on repression. Shot guerrilla-style on the streets of 1980s pre-gentrified New York, on a $40,000 budget, over five years, the film is a fierce DIY manifesto and unforgettable entry in the canon of science fiction genre films. It remains a landmark of feminist cinema — visionary and startlingly urgent. DCP, color, 80 min. Director/Screenwriter: Lizzie Borden. With: Jean Satterfield. Preserved by Anthology Film Archives, with restoration funding from the Golden Globe Foundation and The Film Foundation, and supervised and approved by director Lizzie Borden. Stranger Inside U.S., 2001 Cheryl Dunye’s Stranger Inside is a raw, gripping women’s prison drama starring Yolonda Ross as Treasure, a young butch who commits a crime to reunite with her lifer mother, Brownie (Davenia McFadden). By engaging and reshaping women-in-prison film conventions, Dunye centers incarcerated Black lesbians and their family ties rather than crime or punishment. This constitutes “a radical act — to center Black queer women behind bars, on their own terms,” says Dunye. Through its intimate focus and Dunye’s auteurist vision, the film reframes a marginalized community, blending maternal melodrama and genre subversion into a landmark of American independent cinema. DCP, color, 97 min. Director/Screenwriter: Cheryl Dunye. With: Yolonda Ross, Davenia McFadden. —guest programmer Kathleen McHugh Part of: A Place of Rage: Women and Anger on Screen

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