Movie/Film

In-person: Q&A with Thomas J. Coates, director emeritus, UC Global Health Institute, and distinguished research professor, UCLA David Geffen School of Medicine; Los Angeles Through Positive Eyes artivist Lynnea Garbutt; David Gere, professor, UCLA World Arts and Cultures/Dance, and director, UCLA Art & Global Health Center; “Eyes on Ukraine” director Mo Stoebe; moderated by May Hong HaDuong, director, UCLA Film & Television Archive; and Wilna Julmiste Taylor, associate director, UCLA Art & Global Health Center. by the UCLA Film & Television Archive in partnership with the UCLA School of the Arts and Architecture, UCLA Art & Global Health Center, the UCLA AIDS Institute and the Herb Ritts Foundation 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. Eyes on Ukraine U.S./Ukraine, 2025 In commemoration of AIDS Awareness Month (and World AIDS Day, December 1), the UCLA Film & Television Archive presents the official world premiere of Eyes on Ukraine, a powerful documentary that explores the intersection of two crises — war and the HIV epidemic. Directed by Mo Stoebe and executive produced by Richard Gere, the film follows HIV-positive Ukrainian activist Yana Panfilova as she joins “Through Positive Eyes,” a global photo-storytelling project co-directed by award-winning South African photographer Gideon Mendel and the UCLA Art & Global Health Center. Part of an engrossing visual anthology that connects the power of community, art and activism in the face of a global pandemic, Eyes on Ukraine depicts the harrowing and inspiring daily struggle of young people living with HIV. Arriving at a time when the global health community is confronting historic cuts to research and support, Eyes on Ukraine looks to the resilience of a new generation, navigating survival and community through art and activism. Preceding the film will be a short presentation looking back at the history of “Through Positive Eyes,” an initiative of MAKE ART/STOP AIDS. A post-screening panel will focus on the quickly changing landscape of HIV/AIDS funding, featuring UCLA faculty and a representative group of international “Through Positive Eyes” “artivists.” DCP, color, 37 min. Director: Mo Stoebe. Executive Producer: Richard Gere. Producers: David Gere, Katja Kulenkampff. With: Yana Panfilova, Liza Shevchuck, Yehor Pasko.

#Arts #MovieFilm

In-person: Associate Professor Kathleen McHugh, 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. Chasing the Moon U.S., 1991 Chasing the Moon, directed by Dawn Suggs, is a lyrical, introspective work following a Black lesbian as she navigates the lingering impact of an attack that leaves her uneasy in public spaces. Created in the 1990s when Suggs was part of the directing program at the UCLA School of Theater, Film and Television and Third World Newsreel’s production program, the film weaves together a rare and resonant portrait of the personal and political.—Public Programmer Beandrea July DCP, b&w, 4 min. Director/Screenwriter: Dawn Suggs. Our Father, the Devil U.S., 2021 Babetida Sadjo gives a riveting performance as Marie, a Guinean refugee and head chef at a French retirement home whose life is upended by the arrival of Father Patrick, a priest tied to a harrowing past. This taut, elegant revenge thriller stands up as one of the most engrossing depictions of the aftermath of trauma, even as it surrenders to the allure of supposed payback. Writer-director Ellie Foumbi’s assured direction builds sophisticated tension, crafting a gripping psychological drama and a profound meditation on true healing.—guest programmer Kathleen McHugh DCP, color, 108 min. Director/Screenwriter: Ellie Foumbi. With: Babetida Sadjo, Souleymane Sy Savané, Jennifer Tchiakpe. Part of: A Place of Rage: Women and Anger on Screen

#Arts #MovieFilm

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. Putney Swope U.S., 1969 Anarchic trickster of American cinema, Robert Downey Sr. is another pillar in the canon of radicalized movie theater workers in Nathan Gelgud’s book Reel Politik, and Putney Swope stands at the zenith of Downey’s devilish, bomb-throwing career. After the corporate board of a Madison Avenue ad firm accidentally votes its only Black member to be chairman, Putney Swope (Arnold Johnson) transforms the company’s image-making apparatus into a machine for revolution and profit. Soon, a parade of CEOs and activists alike are beating a path to his door to pay respects (and cash) to get their piece of the action. 35mm, color and b&w, 85 min. Director/Screenwriter: Robert Downey Sr. With: Arnold Johnson, Stan Gottlieb, Allen Garfield. Hi, Mom! U.S., 1970 Raw and raucous, Brian De Palma’s early career dark comedy with Robert De Niro fuses underground aesthetics and Hitchcock homage on the streets and in the tenements of New York. De Niro reprises his character Jon Rubin from De Palma’s Greetings, now struggling to make a living, first with a voyeuristic pitch to a porn producer then as an actor in a political theater troupe looking to cash in on radical chic. Revolution is in the air and everyone seems in on the hustle as De Palma veers wildly from broad comedy to sexual farce to documentary-style realism and outright shock, deftly capturing the tumult of the times. 35mm, color and b&w, 87 min. Director/Screenwriter: Brian De Palma. With: Robert De Niro, Jennifer Salt, Allen Garfield. —Senior Public Programmer Paul Malcolm Part of: Reel Politik: Seizing the Means of Projection With Nathan Gelgud

#Arts #MovieFilm

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 Wiz U.S., 1978 Director Sidney Lumet’s dazzlingly inventive adaptation of the hit Broadway musical transplants L. Frank Baum’s fantastical world from somewhere over the rainbow to somewhere over the Brooklyn Bridge. Diana Ross, as Dorothy, heads the all-Black cast featuring Michael Jackson as The Scarecrow, Nipsey Russell as The Tin Man, Ted Ross as The Lion and Richard Pryor as The Wiz. DCP, color, 134 min. Director: Sidney Lumet. Screenwriter: Joel Schumacher. With: Diana Ross, Michael Jackson, Richard Pryor. Recommended for ages 7+ Part of: Family Flicks

#Arts #MovieFilm

Presented by the UCLA Film & Television Archive and Los Angeles Filmforum In-person: Q&A with Steve F. Anderson, filmmaker and Associate Dean of Academic Affairs, UCLA School of the Arts and Architecture, moderated by Los Angeles Filmforum programmer Diego Robles. 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 filmmaker and the current Associate Dean of Academic Affairs at the UCLA School of the Arts and Architecture, Steve F. Anderson grew up in Los Angeles watching images filmed in the city on television. Seeing images of where you live on screen as well as out your window can generate a desire to always decipher what is “real” and what isn’t. As filmmaker Thom Andersen notes in Los Angeles Plays Itself, Angelenos can quickly be taken out of a movie’s car chase scene when their geographical map of Los Angeles doesn’t correspond with the street directions on screen. Steve F. Anderson sought to explore this “intersection of fact and fiction on the screens of Hollywood” with his latest essay feature film, Reality Frictions, which we are pleased to debut in Los Angeles in partnership with Los Angeles Filmforum. One of the films referenced in Anderson’s work is Marlon Fuentes’ Bontoc Eulogy, which explores the performative images taken at the St. Louis World Fair in 1904 of displaced and coerced indigenous Filipino communities. A screening of Reality Frictions and Q&A with Steve F. Anderson will be followed by Bontoc Eulogy.—Programming Coordinator Nicole Ucedo Programmed by Los Angeles Filmforum Executive and Artistic Director Adam Hyman and Archive Programming Coordinator Nicole Ucedo. Reality Frictions U.S., 2024 Los Angeles premiere! Steve F. Anderson declares the goal of his film as “...not just to investigate the lines between reality and fiction, but to understand what happens when images, events, or people from the real world intrude on the cinematic one.” With structures resembling chapters, the audiovisual essayistic investigations siphon philosophical inquiries while also ushering in a fury of quotidian interrogations from archival sources. Conceptually, the film is framed by Vivian Sobchack’s ideas on “Documentary Consciousness,” while aesthetically, the film’s mannerisms express direct connections to the cinema of Thom Andersen, especially Los Angeles Plays Itself.—Los Angeles FiImforum Programmer Diego Robles DCP, color, 68 min. Director: Steve F. Anderson. Bontoc Eulogy Philippines/U.S., 1995 Marlon Fuentes’ film journeys into learning about Markod, the filmmaker’s grandfather, who along with many Igorot people, was displayed in St. Louis’ World Fair of 1904. Cinematically, he voices concerns against the cosmology that frames the archival footage. His presence combines with scenes he recreates that probe generational fissures from centuries of colonialism, and neo-imperialist pressures against a more diverse Filipino and Filipino-diasporic cultural identity. Against the backdrop of media (mis)representation, he lovingly reinstates honor and respect to his grandfather, showing himself bear witness to the inhumane “studying” of human remains in our very own academic institutions.—Los Angeles FiImforum Programmer Diego Robles DCP, b&w, 56 min. Directors: Marlon Fuentes, Bridget Yearian. Screenwriter: Marlon Fuentes. Part of: Reality Frictions / Bontoc Eulogy

#Arts #MovieFilm

Made possible by the John H. Mitchell Television Programming Endowment In-person: Q&A with Todd S. Purdum, author of “Desi Arnaz: The Man Who Invented Television.” 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. A natural comedic actor, singer and percussionist, Desiderio Alberto Arnaz y de Acha III, better known as Desi Arnaz, also possessed considerable behind-the-scenes creative and business acumen that proved equally paramount to his incredible success. In the biography Desi Arnaz: The Man Who Invented Television, author Todd S. Purdum illuminates that the visionary practices introduced to the television industry by Arnaz dramatically altered the course of the medium. Arnaz’s most significant contribution was his audacious abandonment of live TV to shoot his new sitcom on film with three cameras. The runaway utility of the then-novel (and costly) production technique paved the way for the lucrative redistribution of I Love Lucy, and what ultimately became known as the “rerun.” The proceeds of Arnaz’s brilliant innovation helped fund Desilu Studios — his joint venture with Lucille Ball that quickly became one of the most prolific production arms of the rapidly expanding medium of television in the 1950s and ’60s. As a refugee forced to flee Cuba during the revolution of 1933, Arnaz faced extreme poverty and racism upon arrival in the United States. His unlikely rise to superstar and studio mogul represents a truly American rags to riches story, often undertold, with Arnaz’s genius overshadowed by the peerless comedic talents of his partner, Lucille Ball. Join us for a screening of beloved classics and archival gems honoring television pioneer Desi Arnaz, featuring a Q&A with Todd S. Purdum, author of Desi Arnaz: The Man Who Invented Television. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. Desi Arnaz and His Orchestra U.S., 1946 In this one-reeler, Warner Bros. introduces Desi Arnaz to motion picture audiences as a rising new star, complete with a performance of his signature tune, “Babalú.” 35mm, b&w, 10 min. Director: c. With: Desi Arnaz. I Love Lucy: “Job Switching” U.S. 9/15/1952 With original commercials! Internationally beloved for Lucille Ball’s and Vivian Vance’s hilarious turns as inept chocolate factory workers, this landmark episode also highlights Arnaz’s comedic instincts as his alter ego Ricky Ricardo attempts domestic chores. In 1996, TV Guide ranked this episode number 2 in their “100 Most Memorable Moments in TV History,” surpassed only by coverage of Neil Armstrong’s first steps on the moon. DCP, b&w, 30 min. CBS. Production: A Desilu Production. Executive Producer: Desi Arnaz. Producer: Jess Oppenheimer. Director: Marc Daniels. Writers: Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr. With: Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley. Westinghouse Promotional Film (excerpt) U.S., ca. 1958 In this corporate film, Desilu President Desi Arnaz offers an aerial tour of the vast production facilities across Los Angeles that he co-owned with partner Lucille Ball. Following the helicopter tour, Arnaz presents Westinghouse sponsors with his detailed production bible for the ambitious Westinghouse Desilu Playhouse television anthology that he executive produced. DCP, b&w, 20 min. With: Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley. The Lucille Ball-Desi Arnaz Show: “Lucy Meets the Mustache” U.S., 4/1/1960 Directed by Desi Arnaz, this final episode of the I Love Lucy phenomenon represents the last time that he and Lucille Ball appeared together as the beloved Ricardos. Tensions between the couple, in the midst of divorce, were palpable on set as the cultural touchstone came to an end. The classic episode finds Lucy trying to revive Ricky’s flagging career by haranguing fellow TV pioneers Ernie Kovacs and Edie Adams for work. DCP, b&w, 60 min. CBS. Production: Desilu Productions. Executive Producer: Desi Arnaz. Producer: Bert Granet. Director: Desi Arnaz. Writers: Bob Schiller, With: Lucille Ball, Desi Arnaz, Ernie Kovacs, Edie Adams. The Mothers-in-Law home movies U.S., ca. 1967 Shot on the set of the short-lived sitcom The Mothers-in-Law (1967–69), these home movies, with commentary by longtime Desilu collaborators, writer Madelyn Pugh and editor Dann Chan, and series star Kaye Ballard, offer a rare glimpse of Desi Arnaz at work as executive producer and director. DCP, color, 15 min. With: Desi Arnaz, Kaye Ballard, Eve Arden. Special thanks to Jim Pierson. Courtesy of Desilu Too. Part of: Archive Television Treasures

#Arts #MovieFilm

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. British Sounds U.K., 1970 When their surprised patrons ask the theater staff in Nathan Gelgud’s book Reel Politik what they plan to show in their newly liberated movie house, “the Godard-Gorin stuff” is at the top of their list. An agitprop primer in Marx and Mao, radical feminism, and the deconstruction of capitalist image production, British Sounds was Jean-Luc Godard’s first completed project with the Dziga Vertov Group, a militant film collective that included Jean-Pierre Gorin and Jean-Henri Roger, and marked the New Wave icon’s radical break from auteurist filmmaking. Overlapping voiceover readings from the Communist Manifesto and other radical texts illuminate and clash with an extended montage — a car assembly line, a union strategy meeting, a nude woman at home, student organizers — that suggests, if not a fully realized vision, a vital new cinema struggling to be born. DCP, color, 54 min. Directors/Screenwriters: Jean-Luc Godard, Jean-Henri Roger. The Third Generation Germany, 1979 The precision and elegance of Rainer Werner Fassbinder’s camerawork (he also acted as cinematographer) stands in sharp contrast to the shambolic activities of the would-be terrorist cadre he turns his gaze on in this late ’70s satire of bourgeois revolutionaries. Contrasts bold and subtle abound in this film suffused with high art cinematic allusions and bathroom graffiti, banal routines and sudden bursts of violence. Ostensibly living underground while making vague plans to kidnap a corporate fat cat, these middle-class Marxists play Monopoly to unwind even as their target unspools plans of his own to turn the threat of terrorism into higher profits. DCP, color, in German with English subtitles, 110 min. Director/Screenwriter: Rainer Werner Fassbinder. With: Harry Baer, Hark Bohm, Margit Carstensen. —Senior Public Programmer Paul Malcolm Part of: Reel Politik: Seizing the Means of Projection With Nathan Gelgud

#Arts #MovieFilm

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. Punishment Park U.S., 1971 Long before reality TV and the current right-wing vogue for alliterative concentration camps (Alligator Alcatraz, et al.), English filmmaker Peter Watkins envisaged the end point of the American right’s demonization of its political enemies in this still disturbing mockumentary. After Nixon declares a national emergency, convicted thought criminals — anti-war activists, conscientious objectors, civil rights leaders — are given a choice: go to prison or take their chances in Punishment Park, an inhospitable desert expanse where, if they can survive three days while being hunted by cops, they can win their freedom. As a European TV crew documents their tribunals and tribulations, a band of leftists struggle across the wasteland rallying around the shared humanity the authorities try to deny them. 35mm, color, 88 min. Director/Peter Watkins. With: Patrick Boland, Carmen Argenziano, Kent Foreman. Ice U.S., 1970 Of all the films in this series, Robert Kramer’s Ice unfolds with the least sense of irony in its rough-hewn, hand-held depiction of an earnest revolutionary network organizing against a fascist takeover of the American government. Kramer himself was co-founder of the radical New York-based collective Newsreel, which produced documentaries in support of leftist causes that would hopefully, in his words, “explode like a grenade in people’s faces.” Kramer’s experience with the era’s revolutionary underground informs Ice’s realism, from the furtive strategy sessions to internal ideological debates, punctuated by sudden bursts of violence. DCP, b&w, 128 min. Director/Screenwriter: Robert Kramer. With: Leo Braudy, Robert Kramer, Paul McIsaac. —Senior Public Programmer Paul Malcolm Part of: Reel Politik: Seizing the Means of Projection With Nathan Gelgud

#Arts #MovieFilm

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. We Can’t Go Home Again U.S., 1973 If the theater workers in Nathan Gelgud’s book Reel Politik made a movie, it would look something like Nicholas Ray’s We Can’t Go Home Again. Beginning in 1969 and throughout his tenure teaching at Harpur College in New York, Ray recruited students to contribute improvised scenes to an audacious, idealist act of collective filmmaking that Ray wove into an ever-evolving, split-screen tapestry of the times. On its decidedly kaleidoscopic surface, Ray’s ostensible final feature contrasts sharply with his studio career — Rebel Without a Cause (1955), In a Lonely Place (1950), Johnny Guitar (1954) — even as its intensely personal, deeply empathetic and confessional tone resonates with the qualities that made Ray an exemplar Hollywood auteur. DCP, color and b&w, 93 min. Director/Screenwriter: Nicholas Ray. With: Nicholas Ray, Richard Bock, Tom Farrell. A Night at the Opera U.S., 1935 As ever with the Marx Brothers, it’s the delirious moments in between the plot points that make the experience. And of course, everyone will have their own favorites. For one of Nathan Gelgud’s reel revolutionaries, in A Night at the Opera it’s when the boys, on a steamship crossing the Atlantic, join a gathering of Italian immigrant families on the upper deck for a feast of spaghetti, music and dancing. It’s a beautiful sequence of abundance, togetherness and joy that she recalls in moments of doubt or despair. “I think the world could be like that,” she says. “And that keeps me going.” Amen. 35mm, b&w, 91 min. Director: Sam Wood. Screenwriters: Morrie Ryskind, George S. Kaufman. With: Groucho Marx, Chico Marx, Harpo Marx. Print courtesy of the Academy Film Archive. —Senior Public Programmer Paul Malcolm Part of: Reel Politik: Seizing the Means of Projection With Nathan Gelgud

#Arts #MovieFilm

In-person: Introduction by guest programmer Janet Louie, Ph.D. candidate, Harvard University. Pre-screening Q&A with Louie and Kurt Wong (UCLA ’90), grandson of Tony Quon and Margaret Lew, owners of the Sing Lee Theatre. 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 Story of a Small Town ????, Taiwan, 1979 A man (Kenny Bee) recently released from prison falls in love with a mute woman (Joan Lin) in this classic wenyi film. Wenyi, often translated as “melodrama,” refers to a tradition in Chinese cinema dating back to the 1920s. Characterized by their modern, cosmopolitan sensibility, the wenyi or “literary-art” films of 1970s Taiwan were especially popular among diasporic audiences across Asia and North America. The film’s lasting legacy, however, is its soundtrack — featuring Teresa Teng, whose theme song “Small Town Story” became one of the first major pop hits to enter Mainland China after its 1978 economic opening.—guest programmer Janet Louie DCP, color, in Mandarin with English subtitles, 94 min. Director: Lee Hsing. Screenwriter: Chang Yung-hsiang. With: Kenny Bee, Joan Lin, Ko Hsiang-ting. Part of: Echoes from Spring Street: The World of Sing Lee and Chinese-Language Cinema in L.A.

#Arts #MovieFilm

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 Nice Place South Korea, 2009 For a decade, sociologist-turned-filmmaker Cho Uhn follows four generations of a family repeatedly displaced from Seoul’s hillside slum of Daldongne. Through grandma (halmeoni in Korean) Jung, the family’s emotional anchor, the film traces their struggle for stability amid demolition and redevelopment. Both ethnographic and experimental, this documentary exposes how urban poverty persists across generations in a rapidly modernizing Korea. A Nice Place premiered at the 2009 Seoul International Women’s Film Festival. Digital, color, 90 min. Directors: Cho Uhn, Park Kyoung-tae. Parasite South Korea, 2019 Bong Joon-ho’s masterpiece peels back layers of class, envy and survival with surgical precision. Following the resourceful working-class Kim family as they infiltrate a wealthy household, this Academy Award–winning film morphs seamlessly from social satire to psychological thriller to tragedy. Through breathtaking use of vertical space — from the custom-built sets of a decrepit basement apartment to the lofty heights of a hilltop mansion — Bong crafts a searing portrait of inequality, where aspiration inevitably curdles into horror and the dream of upward mobility becomes a slippery slope of epic proportions. DCP, color, 132 min. Director/Screenwriter: Bong Joon-ho. With: Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam. —Public Programmer Beandrea July Part of: (Dis)placement: Fluctuations of Home, Part II

#Arts #MovieFilm

In-person: Karen Pearlman, filmmaker; Lilya Kaganovsky, professor and chair, UCLA Department of Slavic, East European & Eurasian Languages & Cultures. 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. Cinema’s First Nasty Women returns to the Billy Wilder Theater! Its name a riff on the feminist cri de cœur that arose during the 2016 presidential election, Cinema’s First Nasty Women is an ongoing, curated project to rediscover and revel in the anarchic spirit of women comedians who brought a rebellious energy to the early silent screen. Organized by an international team of film archivists and scholars, Maggie Hennefeld, Laura Horak and Elif Rongen-Kaynakçi, this new travelling program of restored titles from the project comes with a special twist. Archival collections can inspire new research which in turn helps grow new audiences, but they can also inspire new films. Based in Australia, with The Physical TV Company, filmmaker and author Karen Pearlman has built a feminist film practice that puts cinema’s past and present in dialogue in brilliantly constructed, canon-busting short film essays. For “Cinema’s First Nasty Women: Breaking Plates and Smashing the Patriarchy,” Pearlman drew on the project's images and energy for her latest short, Breaking Plates. The Archive is thrilled to have Pearlman as our guest at the Billy Wilder Theater with a selection of her work along with the Los Angeles premiere of Breaking Plates and the silent slapstick female performers that inspired it. Programmed by Paul Malcolm with Maggie Hennefeld, Laura Horak, Karen Pearlman and Richard James Allen. Notes written by Senior Public Programmer Paul Malcolm. Woman with an Editing Bench Australia, 2016 Channeling the explosive montage editing style of Soviet-era filmmaker Elizaveta Svilova, Karen Pearlman centers Svilova’s creative contributions in Dziga Vertov’s work, including Man With a Movie Camera, among their many other other documentary collaborations. DCP, color, 15 min. Director/Screenwriter: Karen Pearlman. With: Leeanna Walsman, Richard James Allen, Marcus Graham. After the Facts Australia, 2018 Director Karen Pearlman reclaims the “Kuleshov Effect” from the male theorist who named it for Esfir Shub and the other pioneering Soviet-era women editors who actually developed and deployed it on screen. DCP, b&w, 5 min. Director/Screenwriter: Karen Pearlman. I want to make a film about women Australia, 2019 In this “speculative love letter to Russian constructivist women,” director Karen Pearlman reimagines how leading Soviet-era artists, including filmmaker Lilya Brik, designer Varvara Stepanova and editor Esfir Shub, transformed their kitchens into labs for collective creative exploration and production during a period of harsh repression and marginalization. DCP, b&w, 12 min. Director/Screenwriter: Karen Pearlman. With: Victoria Haralabidou, Inga Romantsova, Liliya May. Breaking Plates Australia, 2024 Galvanized by the anarchic energies on display in the films of the Cinema’s First Nasty Women project but also acutely aware of the course of film history from there, filmmaker Karen Pearlman and her on-screen collaborator Violette Ayad confront the question, “What happened to our revolution?” Breaking Plates is less an answer than a declarative, spirited act to reclaim silent cinema’s disrupted female agency and channel it into a new liberated cinema of today. DCP, color, 25 min. Director/Screenwriter: Karen Pearlman. With: Violette Ayad, Karen Pearlman, Richard James Allen. The Nervous Kitchen Maid (Victoire a ses nerfs) France, 1907 DCP, b&w, silent with original music by Gonca Feride Varol, 3 min. Rosalie and Her Phonograph (Rosalie et son Phono) France, 1911 DCP, b&w, silent with original music by Renée T. Coulombe, 4 min. Director: Romeo Bosetti. Mary Jane's Mishap U.K., 1903 DCP, b&w, silent with original music by Gonca Feride Varol, 3 min. Director: George Albert Smith. Zoé and the Miraculous Umbrella (Zoé et le parapluie miraculeux) France, 1913 DCP, b&w, silent with original music by Gonca Feride Varol, 4 min. Léontine Pulls the Strings (Les ficelles de Léontine) France, 1910 DCP, b&w, silent with original music by Veronica Leahy, 7 min. Hypnotizing the Hypnotist U.S., 1911 DCP, b&w, silent with original music by Gerson Lazo-Quiroga, 7 min. Director: Laurence Trimble. Cunégonde the Coachwoman (Cunégonde femme cochère) France, 1913 DCP, b&w, silent with original music by Gonca Feride Varol, 6 min. With: Little Chrysia. The Boy Detective or the Abductors Foiled U.S., 1908 DCP, b&w, silent with original music by José María Serralde Ruiz, 5 min. With: Robert Harron, Edward Dillon. The Maids’ Strike (La grève des bonnes) France, 1906 DCP, b&w, silent with original music by Renée C. Baker, 7 min. Total runtim

#Arts #MovieFilm

Made possible by the John H. Mitchell Television Programming Endowment 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. Following the cancellation of his epochal Twilight Zone after five seasons, six-time Emmy winner Rod Serling re-entered primetime with an unorthodox experiment — a humanist, existential Western titled The Loner (1965–66). Created by Serling, the mostly forgotten semi-anthology series featured only a single recurring character, William Colton (Lloyd Bridges), a former Union cavalry officer roaming the West in search of meaning in the aftermath of his traumatic experiences during the Civil War. Serling envisioned The Loner as an antidote to the escapist Westerns that had once dominated television, opting instead to focus on character-driven stories that explored moral issues, including non-violent resistance and racism. When the network reportedly called for more action to be incorporated, Serling, a World War II combat veteran, went to the press, declaring that he interpreted the interference as a call to add violence to the series’ cerebral scripts. Embroiled in network controversy and too far ahead of its time in daring to expand the rigid conventions of the medium, The Loner was canceled after only one season. Viewed today, the innovative series represents a fascinating genre detour in Serling’s prolific Television Hall of Fame career, illuminating his unwavering dedication to exploring the human condition, from the gray netherworlds of the Twilight Zone to the unforgiving prairies of the old West. Join us for a trio of powerhouse Serling-penned episodes of The Loner, starring Lloyd Bridges, Tony Bill, Brock Peters and Dan Duryea. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. The Loner: “An Echo of Bugles” U.S., 9/18/1965 In this series premiere written by Rod Serling, former Union officer William Colton (Lloyd Bridges) struggles to break a deadly cycle of violence as a sadistic young gunman (Tony Bill) confronts a defeated Confederate soldier (Whit Bissell). The humanist episode establishes the titular character of Colton, a wandering veteran of conscience suffering from post-traumatic stress due to the bloody violence of the Civil War. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Alex March. Writer: Rod Serling. With: Lloyd Bridges, Whit Bissell, Tony Bill. The Loner: “The Homecoming of Lemuel Stove” U.S., 11/20/1965 In the dramatic zenith of the series, Colton (Lloyd Bridges) is unexpectedly rescued from an ambush by Lemuel Stove (Brock Peters), an African American Union soldier who has just won his freedom in the Civil War. The two fast friends soon encounter tragedy when they arrive at Stove’s hometown for a family reunion, only to find a Klan-like group has committed a deadly act of racial violence. Broadcast at the height of the Civil Rights Movement, Serling’s hard-edged teleplay serves as a timely allegory, with Brock Peters delivering a tour de force performance conveying unspeakable pain and towering strength. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Joseph Pevney. Writer: Rod Serling. With: Lloyd Bridges, Brock Peters, Don Keefer. The Loner: “A Little Stroll to the End of the Line” U.S., 1/15/1966 In this Serling teleplay with a Twilight Zone-worthy twist, Colton (Lloyd Bridges) encounters a feared expert gunslinger (Dan Duryea), seemingly out for revenge against a charlatan preacher (Robert Emhard). As the corrupt preacher holds the town in sway with his dubious sermons, acting deputy Colton must defend the immoral fraud from a seemingly imminent execution. However, the gunslinger’s tragic past dictates a different fate for the preacher. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Norman Foster. Writer: Rod Serling. With: Lloyd Bridges, Dan Duryea, Robert Emhardt. Part of: Archive Television Treasures

#Arts #MovieFilm

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. Meet John Doe U.S., 1941 Director Frank Capra and screenwriter Robert Riskin’s 1941 political fantasy Meet John Doe feels more prophetic than ever. It’s got it all: a disconnected, alienated (largely white) American working class, a changing media landscape, fake news, an incipient fascist cabal and, of course, mobs.The parting shot of a disgruntled reporter (Barbara Stanwyck) — a manifesto in the form of a suicide note, written by a fictional everyman — inadvertently launches a nationwide political movement after her nervous newspaper finds a patsy to play the part (Gary Cooper). Outwardly well-intentioned, the populist movement urging goodwill and neighborliness is quickly co-opted by corrupt autocrats working from the shadows to seize power. 35mm, b&w, 129 min. Director: Frank Capra. Screenwriter: Robert Riskin. With: Gary Cooper, Barbara Stanwyck, Edward Arnold. 35mm preservation print courtesy of the UCLA Film & Television Archive. The Mortal Storm U.S., 1940 In the concluding chapter of his “Weimar Trilogy,” which began with Little Man, What Now? (1934) and Three Comrades (1938), director Frank Borzage depicts fascism’s ascendance in a small German college town following Hitler’s election to chancellor. The unleashed forces opposed to tolerance, community, reason and freedom of thought fall particularly hard on the family of a beloved professor whose Jewishness is suggested but never stated. The professor’s daughter (Margaret Sullavan) and a family friend (James Stewart) are star-crossed lovers whose resistance to fascism is framed by the film’s prologue as part of the age-old fight against “superstition” and “ignorant fears.” 35mm, b&w, 100 min. Director: Frank Borzage. Screenwriters: Claudine West, Hans Rameau, George Froeschel. With: Margaret Sullavan, James Stewart, Robert Young. 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding funding provided by the Juanita Scott Moss Estate —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

#Arts #MovieFilm

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. Blight U.K., 1996 Filmmaker John Smith and composer Jocelyn Pook lived in the East London community whose destruction is documented in Blight. Though widely protested by residents, construction of the M11 Link Road began in 1994, leading to the demolition of hundreds of homes. Smith filmed the destruction and the rise of the new motorway over two years. Fragmented images of torn-down houses intertwine with field recordings and snippets of conversations with residents. The result is a symphony of real and constructed sounds and images that evoke the crumbling sensation of losing one’s ground. DCP, color, 14 min. Director: John Smith. Aquarius Brazil/France, 2016 Clara (Sônia Braga), a widow and grandmother in her early 60s, spends her days swimming blissfully at the beaches of Recife, listening to her beloved records in her ocean-view apartment, and gathering with friends and family. Everything appears idyllic until it becomes clear that she is the last remaining resident in her building. When a persistent grandfather-and-grandson development team approaches her with an offer to buy her apartment, Clara refuses, preventing the planned demolition of the complex. As her once-joyful life becomes increasingly marked by harassment and stress, those closest to her urge her to sell and move on. But Clara is not that kind of person. Poised and fearless, she takes on the fight to protect her home. DCP, color, in Portuguese with English subtitles, 147 min. Director/Screenwriter: Kleber Mendonça Filho. With: Sonia Braga, Maeve Jinkings, Irandhir Santos. —Associate Programmer Nicole Ucedo Part of: (Dis)placement: Fluctuations of Home, Part II

#Arts #MovieFilm

Presented in partnership with the UCLA School of Education and Information Studies and the UCLA Documentary Film Legal Clinic In-person: Q&A with filmmaker Bao Nguyen, producer Terri Lichstein, line producer Jenni Trang Le, moderated by UCLA Assistant Professor Thuy Vo Dang, Information Studies and Asian American Studies. Introduction by Archive Director May Hong HaDuong. 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 Stringer U.S., 2025 Through unprecedented on-the-ground access, journalists brought the Vietnam War to the living rooms of a global audience. Public outcry and resistance grew as brutal and bloody images reached the homes of millions. One of the most recognizable images taken during the conflict, “The Terror of War,” featured a young, unclothed girl running following a napalm attack. The photograph would become a turning point for the hearts and minds of the world, earning photographer Nick Út a Pulitzer Prize. Decades later, Bao Nguyen’s gripping film documents a possible revelation of the photograph’s long-held secret and the chain reaction that follows. A story of record unravels through forensic tools, first-hand accounts, and an emotional, climactic reunion. Premiering at the 2025 Sundance Film Festival, The Stringer sparked controversy in the photojournalism world, raising questions about the editorial power structures that propelled the stature of some photographers over the obscurity of others. Following the screening, filmmaker Bao Nguyen, producer Terri Lichstein, and line producer Jenni Trang Le will discuss the two-year journey of the making of The Stringer. DCP, color, 100 min. Director: Bao Nguyen, Producers: Terri Lichstein and Fiona Turner. With: Gary Knight and Nguy?n Thành Ngh?. Programmed and note written by Archive Director May Hong HaDuong. Part of: The Stringer

#Arts #MovieFilm

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 Secret Life of Pets U.S., 2016 When a devoted terrier and a shaggy mutt battle for supremacy of their owner’s big city apartment, they both end up lost in Manhattan and on the run from a feral band of abandoned pets led by a psychotic bunny. Charming animation and madcap adventure make this an hilarious romp through the secret lives and loyal friendships of our furry companions. DCP, color, 86 min. Director: Chris Renaud. Screenwriters: Cinco Paul, Ken Daurio, Brian Lynch. With: Louis C.K., Eric Stonestreet, Kevin Hart. Recommended for ages 7+ Part of: Family Flicks

#Arts #MovieFilm

Presented by the UCLA Film & Television Archive and the Hammer Museum In-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. Always for Pleasure U.S., 1978 On the streets and porches, in the living rooms and the kitchens of New Orleans, documentarian Les Blank observes an American city like no other. As one of his subjects puts it, “It’s the last place in America that you feel just sort of free to live.” A graduate of Tulane University, Blank acknowledges the complexity of the city’s history in that regard which deepens its scenes of jubilant celebrations brimming with life, from St. Patrick’s Day to Mardi Gras where red beans and rice and Cajun seasoned crawdads are consumed with copious amounts of beer. DCP, color, 58 min. Director: Les Blank. Yum, Yum, Yum!: A Taste of the Cajun and Creole Cooking of Louisiana U.S., 1990 As Margaret Chenier, wife of zydeco master Clifton Chenier, slices fresh garlic in her Louisiana backyard, documentarian Les Blank asks her off-screen, “You don’t use garlic powder?” Without missing a slice she recalls her mother’s cooking and rejects the idea full stop: “There’s a lot of new stuff coming out but … we use that real good stuff.” Blank’s intimate deep dive into the techniques of Cajun and Creole chefs is all about the real good stuff they put into the preparation of catfish, crawfish, okara, chicken sauce piquante, candied yams, beef tongue and more. A mouth-watering melding of music, food and tradition, Yum Yum Yum delivers exactly what its title evokes. DCP, color, 31 min. Director: Les Blank. —Senior Public Programmer Paul Malcolm Part of: Food and Film

#Arts #MovieFilm

Co-presented by Giant Robot In-person: filmmaker Jon Moritsugu. 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. Numbskull Revolution U.S., 2025 World theatrical premiere! With raucous, three-chord cinematic bangers such as My Degeneration (1989), Terminal USA (1993) and Mod Fuck Explosion (1994), the Godfather of Punk Cinema, filmmaker Jon Moritsugu, defined the trashy, rough-hewn DIY aesthetic of 1990s underground filmmaking. The Archive is thrilled to welcome Moritsugu back to the Billy Wilder Theater for the world theatrical premiere of Numbskull Revolution, his first feature in over a decade, created with longtime collaborator and ex-wife, Amy Davis. She and James Duval play a pair of rival conceptual artists battling for fame and funding in the near-future dystopia of Shitville, Earth. As one ascends the heights of neoliberal capitalist success, the other seeks inspiration and solace in the euphoric waves of a new cyber drug called Skullfuck. Ingenious production design and savvy location shooting evoke the urban sprawl and rural industrial collapse against which Mortisugu frames this scathing satire of art world pretension. DCP, color, 93 min. Director: Jon Moritsugu. Screenwriters: Amy Davis, Jon Moritsugu. With: Amy Davis, James Duval. Programmed and note written by Senior Public Programmer Paul Malcolm. Part of: Numbskull Revolution

#Arts #MovieFilm

In-person: director Grace Lee (UCLA School of Theater, Film and Television M.F.A. ’02) and Grace Kim, Nodutol community organizer. Prerecorded introduction by filmmakers Christine Choy and J.T. Takagi. 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. Make a Wish Itmanna, Palestine, 2006 20th anniversary screening Shot on mini-DV in the occupied West Bank, Cherien Dabis’ debut follows eleven-year-old Mariam’s determined quest to buy a birthday cake — a simple act complicated by life under occupation. As critic Marya E. Gates writes, the short “packs an emotional wallop that pushes you to reconsider everything.” Poignant then and even more urgent now, Make a Wish launched Dabis’ career after premiering at the Sundance Film Festival and being screened at festivals worldwide. Digital, color, 12 min. Director/Screenwriter: Cherien Dabis. With: Mayar Rantisse, Lone Khilleh, Iman Aoun. Homes Apart: Korea U.S./Korea, 1991 Filmed in both North and South Korea, Homes Apart follows one man’s emotional journey to reunite with his sister decades after the Korean War divided their family. Through intimate encounters and candid interviews, directors Christine Choy and J.T. Takagi trace the human cost of political separation. Combining personal testimony with geopolitical insight, the film reveals the deep longing, shared culture and unresolved tensions that continue to define the Korean peninsula today. Digital, color, 56 min. Directors: Christine Choy, J.T. Takagi. Screenwriter: David Henry Hwang. American Revolutionary: The Evolution of Grace Lee Boggs U.S., 2013 From the intimacy of her kitchen table to walks through Detroit’s post-industrial urban gardens, Grace Lee’s documentary portrait of her mentor offers a compelling look at the extraordinary life of philosopher, activist and Chinese American immigrant Grace Lee Boggs. A radical thinker and cornerstone of Black liberation movements, Boggs — who died in 2015 at age 100 — transformed abstract philosophy into community action. At once personal and profound, American Revolutionary captures Boggs at 98, still questioning, teaching and evolving her vision of what it means to change the world. DCP, color, 82 min. Director: Grace Lee. With: Grace Lee Boggs, Bill Moyers, Angela Davis. —Public Programmer Beandrea July Part of: (Dis)placement: Fluctuations of Home, Part II

#Arts #MovieFilm

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. Under Construction (or the place where I was born no longer exists) Chile, 2000 A man watches as his neighborhood in Santiago, Chile, changes around him. Houses are sold and torn down, neighbors move away. Refusing to change with it, he invites documentarian Ignacio Agüero into his home, sharing his hobbies and personal history with the camera. Meanwhile, life continues, bringing changes within his own family — the passage of time never ceasing. Ignacio Agüero, one of Chile’s most acclaimed documentarians, made his early films during the Pinochet dictatorship. Under Construction captures a post-Pinochet Chile at the turn of the century, as the people of Santiago reflect on their country’s history through architecture, anecdotes and visions of the future. Digital, color, in Spanish with English subtitles, 77 min. Director: Ignacio Agüero. Give Me a Home Taiwan, 1991 Before his feature film debut Rebels of the Neon God (1992), Tsai Ming-liang had a brief career directing made-for-television films. Give Me a Home is one of these early works, offering glimpses of Tsai’s distinctive, lingering cinematic style soon to emerge in full definition. His television work often centered on the struggles of Taipei’s working class, as seen here. Set in 1990s Taipei, the film follows a young unhoused family whose breadwinner builds houses for others. Filming in both public and private spaces, Tsai reveals the lives of those living in the shadows, without a shelter of their own. Digital, color, in Mandarin with English subtitles, 52 min. Director: Tsai Ming-liang. Screenwriters: Tsai Ming-liang, Li Zongyu. With: Lung Chang, Ling-Ling Hsia. —Associate Programmer Nicole Ucedo Part of: (Dis)placement: Fluctuations of Home, Part II

#Arts #MovieFilm

Presented by the UCLA Film & Television Archive and the Hugh M. Hefner Classic American Film Program In-person: Q&A with Steven C. Smith, author of “Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema.” Book signing before the screening, beginning at 6 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. 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. Between 1955 and 1964, filmmaker Alfred Hitchcock and composer Bernard Herrmann collaborated on eight films, including Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963), that reshaped American cinema. As the Cold War set in, censorship regimes loosened and television took its toll on the box office, Hitchcock responded to the times with stories and images that pushed Hollywood’s boundaries to attract new, younger audiences to the big screen. In Herrmann, Hitchcock found an erudite composer willing to take chances with him. Indeed, Hitchcock so trusted Herrmann's insights into the medium and music's role in it that he would adjust editing and even dialogue in key sequences to accommodate Herrmann’s scoring. In background and temperament they were unlikely partners but their work together produced some of the most enduring, visionary and influential cinema of the last century. Award-winning filmmaker and film historian Steven C. Smith dives deep into their creative relationship and the forces that shaped it in his latest book, Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema. As part of this program, Smith will deliver an illustrated talk about these visionary collaborators before a screening of their iconic work on Psycho (1960) and a post-screening Q&A. Psycho U.S., 1960 Paramount was so unnerved by the concept for Psycho — loosely based on a magazine article about serial killer Ed Gein — that Alfred Hitchcock agreed to front the cost of production himself to get it made. By the time Hitchcock brought a rough cut to Bernard Herrmann, however, even the director had lost faith in the project. “He was crazy,” Herrmann later recalled. “He didn’t know what he had.” But the composer had “some ideas.” Herrmann’s groundbreaking minimalist score of stabbing, sweeping strings elevates the stripped down dread of Hitchcock’s images in a visionary fusion like no other. Herrmann’s score made Psycho work and then Psycho changed cinema history. DCP, b&w, 109 min. Director: Alfred Hitchcock. Screenwriter: Joseph Stefano. With: Anthony Perkins, Janet Leigh, Vera Miles. Programmed and notes written by Paul Malcolm. Part of: Archive Talks

#Arts #MovieFilm

In-person: director Juan Pablo González vice chair and head of production, UCLA School of Theater, Film and Television. Q&A to take place after The Solitude of Memory. 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 Solitude of Memory ¿Por Qué El Recuerdo?, Mexico/U.S., 2014 Recounting the circumstances of his son Nando’s suicide, José seems both comforted by and unaware of filmmaker Juan Pablo González’s camera as he retells the events of that final day. The short unfolds in three chapters: each repetition feels like an excavation, grief both fresh and buried. Set against the vast farmlands he once worked on with his son, the film’s haunting soundscape and a capella cantos transform mourning into landscape, revealing how memory reshapes what remains and how loss echoes through time and place. Digital, color, 20 min. Director/Screenwriter: Juan Pablo González. Songs My Brothers Taught Me U.S., 2015 Chloé Zhao’s quietly devastating debut unfolds on South Dakota’s Pine Ridge Reservation, where high school senior Johnny prepares to leave home until a sudden family death makes him reluctant to abandon his 13-year-old sister. Blending fiction and documentary, Zhao casts local community members without professional acting experience, grounding the film in authenticity. The result is a work of lyrical realism and emotional restraint that captures the beauty, hardship and resilience of reservation life. DCP, color, 98 min. Director/Screenwriter: Chloé Zhao. With: John Reddy, Jashaun St. John, Irene Bedard, Eléonore Hendricks. —Public Programmer Beandrea July Part of: (Dis)placement: Fluctuations of Home, Part II

#Arts #MovieFilm

Co-presented by the UCLA Stavros Niarchos Foundation (SNF) Center for the Study of Hellenic Culture In-person: filmmaker Eleni Alexandrakis; Laurie Hart, chair, UCLA Department of Anthropology, and co-director, UCLA Center for European and Russian 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. Giannis in the Cities Greece, 2024 During the Greek Civil War fought between 1946-1949, childhood itself became a frontline in the clash between government and rebel forces. Under the guise of offering protection and education, the Greek government enticed parents to surrender their children to a system of Childcare Cities that served as indoctrination mills that oftentimes alienated their wards from their own families. In her riveting, visually striking adaptation of the memoir of Greek writer Giannis Atzakas, writer-director Eleni Alexandrakis tells the searing story of Atzakas and his experience growing up in these harsh institutions all the while unable to shake the memory of his rebel father and his longing for — and aversion to — a reunion. DCP, b&w, in Greek with English subtitles, 90 min. Director: Eleni Alexandrakis. Screenwriters: Eleni Alexandrakis, Panagiotis Evangelidis. With: Philippos Milikas , Marios-Konstantinos Gatetzas, Konstantinos Athanassakis, Aineias Tsamatis, Agni Stroubouli, Evi Saoulidou. Programmed and note written by Senior Public Programmer Paul Malcolm. Part of: Giannis in the Cities

#Arts #MovieFilm