Film & Television Archive

In-person: Q&A with Mary Corey, senior continuing lecturer in the UCLA Department of History. 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. Red Hollywood U.S. 1996 Abraham Polonsky, the writer of Body and Soul, said, “All films that are about crime are about capitalism.” In the 1940s, the House Un-American Activities Committee and studio executives conspired to create a blacklist barring hundreds of film artists suspected of communist sympathies, like Polonsky, from employment, upending countless lives. In Red Hollywood, Thom Andersen and Noël Burch reassess the blacklist’s legacy by reassembling footage from over 50 films made by blacklisted artists. These films, once dismissed as minor, are reconsidered as thoughtful attempts to tackle social and political issues in ways that Hollywood wouldn’t attempt again for decades.—Public Programs Assistant Noah Brockman DCP, color, 114 min. Directors/Screenwriters: Thom Andersen, Noël Burch. With: Billy Woodberry (narration). The Master Race U.S., 1944 George Coulouris stars as a Nazi commander who, seeing the writing on the wall for the Third Reich, disperses his officers incognito around liberated Europe to begin sowing seeds of discontent anew. As he assures them: “In our hands, hate can be turned into the most potent of weapons.” Settling himself in a Belgian town under Allied control, he works to undermine fledgling reconstruction efforts by playing on local antagonisms and resentment. A study of fascist rhetorical and propaganda tactics in the guise of a thriller, The Master Race was directed by Herbert J. Biberman who co-wrote the script with Anne Froelich and Rowland Leigh, with Biberman and Froelich both blacklisted just a few years later.—Senior Public Programmer Paul Malcolm 35mm, b&w, 95 min. Director: Herbert J. Biberman. Screenwriters: Herbert J. Biberman, Anne Froelich, Rowland Leigh. With: George Coulouris, Stanley Ridges, Osa Massen. Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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Made possible by the John H. Mitchell Television Programming Endowment. Co-presented by the UCLA Asian American Studies Center. n-person: UCLA Professor Karen Umemoto, Helen and Morgan Chu Director of the Asian American Studies Center, and with Brian Niiya, Content Director of Densho, Lily Tung Crystal, Artistic Director, East West Players, and actor Denice Kumagai-Hoy. 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. Originally staged by the East West Players, pioneering author Wakako Yamauchi’s adaptation of her award-winning play, “And the Soul Shall Dance,” for KCET’s Hollywood Television Theatre is a poetic, haunting drama that reveals the hardships Japanese Americans faced during the Great Depression. Set in California’s Imperial Valley, Yamauchi's moving work explores the lives of two farming families as they struggle to make ends meet and assimilate in a so-called land of opportunity defined by systemic racism. Yamauchi’s teleplay unfolds through the eyes of a sensitive girl, Masako (Denice Kumagai), who bears witness to the challenges facing her loving parents (Pat Li, Sab Shimono) and the unraveling lives of a neighboring couple, Emiko (Haunani Minn) and Oka (Yuki Shimoda). Abused by her husband from an arranged marriage, Emiko dreams of a return to Japan to reclaim her past life, far from an inhospitable America. Her profound journey represents an indelible requiem for generations of Issei and Nisei beyond the play’s setting of the 1930s, with Yamauchi herself unjustly incarcerated as a teen at the concentration camp for Japanese Americans in Poston, Arizona, during World War II. Post-screening panel discussion moderated by UCLA Professor Karen Umemoto, Helen and Morgan Chu Director of the Asian American Studies Center,with Brian Niiya, Content Director of Densho, Lily Tung Crystal, Artistic Director, East West Players, and actor Denice Kumagai-Hoy. Before the screening in the lobby, beginning at 6:30 p.m., UCLA Library Audiovisual Project Conservator Maile Chung will display archival materials related to the East West Players from UCLA Library Special Collections. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. Hollywood Television Theatre: “And the Soul Shall Dance” U.S., 2/7/1978 DCP, color, 90 min. PBS. Production: KCET, Community Television of Southern California. Produced for the stage by East West Players. Executive Producer: Norman Lloyd. Director: Paul Stanley. Writer: Wakako Yamauchi. With: Denice Kumagai, Pat Li, Haunani Minn, Sab Shimono, Yuki Shimoda, DianeTakei. Special Thanks to PBS SoCal, Gerry Bryant, Patrick Yew. 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. Cloak and Dagger U.S., 1946 Director Fritz Lang’s post-war espionage thriller follows Gary Cooper’s nuclear physicist from his lab working on the Manhattan Project to an Italian resistance unit on an OSS mission to rescue a dissident scientist forced to help the Nazis on their own atomic bomb. Lang delivers some outstanding action sequences (no one socks a Nazi quite like Gary Cooper) while later-blacklisted screenwriters, Ring Lardner Jr. and Albert Maltz, put a progressive spin on the film’s nuclear politics — “When are we going to be given a billion dollars to wipe out cancer?” decries Cooper’s physicist — alongside its message that resistance to fascism isn’t only necessary but a moral obligation. 35mm, b&w, 106 min. Director: Fritz Lang. Screenwriters: Ring Lardner Jr., Albert Maltz. With: Gary Cooper, Robert Alda, Lilli Palmer. 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding provided by The Film Foundation. Keeper of the Flame U.S., 1942 In this mystery melodrama, the legacy of a “great man” of America is called into question after his sudden death in a suspicious car accident. Spencer Tracy is the grizzled veteran reporter who starts asking all the wrong questions of Katharine Hepburn’s grieving but suspicious widow. Donald Ogden Stewart’s script comes with a few paeans to American exceptionalism — ”You and I are free men today because centuries ago some unknown guy got an idea in his head that he was just as good as the guy who was bossing him” — in a story that decidedly suggests “it can happen here” as homegrown fascists wrap themselves in patriotic imagery and rhetoric. 35mm, b&w, 100 min. Director: George Cukor. Screenwriter: Donald Ogden Stewart. With: Spencer Tracy, Katharine Hepburn, Richard Whorf. —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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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. Arch of Triumph U.S., 1948 Adapted from Erich Maria Remarque’s novel and directed by Lewis Milestone who also co-wrote, Arch of Triumph finds the City of Lights shrouded in noirish fog and shadow. It’s 1938 and Paris has become the tenuous home for refugees on the run from the Nazis and French immigration to avoid deportation. Among them is Charles Boyer’s doctor who haunts the city’s cafes and recognizes a shared trauma in Ingrid Bergman’s desperate émigré. A tragic romance, Arch of Triumph does double duty dramatizing the cruelty of both facism and an immigration system that would render people stateless by denying them safe haven. 35mm, b&w, 120 min. Director: Lewis Milestone. Screenwriters: Lewis Milestone, Harry Brown. With: Ingrid Bergman, Charles Boyer, Charles Laughton. 35mm restored print courtesy of the UCLA Film & Television Archive. Restored by the UCLA Film & Television Archive in cooperation with National Telefilm Associates, Inc., and Richard Rosenfeld; funding by AFI/NEA; special thanks to Richard Dayton for his significant contributions in restoring this film. Voice in the Wind U.S., 1944 In this ultra low-budget B-film produced by Czech émigré Rudolph Monter, Friedrich Torberg plays a Czech concert pianist jailed and tortured by the Nazis for playing “The Moldau,” a symbol of the Czech resistance to their occupation. Escaping his captors and surviving a harrowing journey, he ends up alone on a Caribbean island where his trauma overwhelms him as he longs for his missing wife — dying unbeknownst to him on another part of the island. Imbued with expressionist shadows and told through a series of interwoven flashbacks, Voice in the Wind powerfully expresses the disorientation and despair of European refugees in the wake of fascist violence. DCP, b&w, 85 min. Director: Arthur Ripley. Screenwriter: Friedrich Torberg. With: Francis Lederer, Sigrid Gurie, J. Edward Bromberg. Restoration funded by the George Lucas Family Foundation. Restored by the UCLA Film & Television Archive and The Film Foundation. —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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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. The Burning Cross U.S., 1947 World restoration premiere! One of the boldest films of the postwar period to tackle homegrown facism, the independent production, The Burning Cross, was the first anti-Klan film to explicitly depict Black Americans as victims of KKK terror on screen. A newly discharged veteran disgruntled by the changes he finds in his small town gravitates to the brutes of a Klan front group, the American Only Association. The brutal realism of the film’s depiction of the rhetoric and tactics culminates in the murder of a Black family burned in their home. The film, however, is not without compromise as an opening prologue restored in this version suggests that the Klan was originally founded by “men of good intentions” who would be betrayed by a corrupt, greedy few. 35mm, b&w, 77 min. Director: Walter Colmes. Screenwriter: Aubrey Wisberg. With: Henry H. Daniels Jr., Virginia Patton, Dick Rich. 35mm restored print courtesy of the UCLA Film & Television Archive. Restored by the UCLA Film & Television Archive and The Film Foundation. Restoration funding provided by The Hobson/Lucas Family Foundation. Open Secret U.S., 1948 Released the year after both Gentleman's Agreement (1947) and Crossfire (1947) made anti-semitism their explicit subject, this independently produced film noir takes a grittier approach to the social problem despite never mentioning the word, although the implications are clear. Directed by Austrian-born émigre John Reinhardt, Open Secret unfolds as a small town mystery with a newlywed couple investigating the disappearance of the friend they’ve come to visit. What they discover is a community so corrupted by hate even children join in victimizing anyone who isn’t “the right kind of people.” Ironically, a sweaty cabal stands behind it all with ambitions to take their violent campaign to the national political stage. 35mm, b&w, 68 min. Director: John Reinhardt. Screenwriters: Henry Blankfort, Max Wilk. With: John Ireland, Jane Randolph, Sheldon Leonard. 35mm restored print courtesy of the UCLA Film & Television Archive.Preserved by the UCLA Film & Television Archive with funding provided by The Packard Humanities Institute. —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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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. Preserved by UCLA from original 2 in. video master! In a celebrated career spanning over four decades, Academy Award winner Gene Hackman (1930–2025) became recognized as one of the finest American actors of the New Hollywood era. A native Californian who relocated to New York to pursue acting in the late 1950s (with roommates Dustin Hoffman and Robert Duvall), Hackman toiled for over a decade off and on Broadway, and in dozens of small parts on film and television. By 1968, in between his star-making turns in the iconic features Bonnie and Clyde (1967) and The French Connection (1971), Hackman landed the lead role in the prestigious television anthology CBS Playhouse, in the installment, “My Father and My Mother.” Virtually unseen since its original broadcast, “My Father and My Mother” concerns a writer (Hackman) as he struggles to come to terms with decisions made in the care of his son with an intellectual disability. In seeking answers to his deep emotional crisis, the writer revisits his past, attempting to reconcile painful memories of his late parents (Ralph Bellamy, Jane Wyatt). An obscure footnote in Hackman’s oeuvre, the expressionistically staged drama (videotaped at CBS Television City) represents a creative high point in the actor’s television resume, revealing a performance of psychological depth uncommon to the small screen. In its review, the Los Angeles Times hailed Hackman as “outstanding,” noting the production was “... 90 minutes of thoughtful, well-played drama, of which there is much too little on TV these days.” Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. CBS Playhouse: “My Father and My Mother” U.S., 2/13/1968 With original commercials DCP, color, 90 min. CBS. Production CBS. Executive Producer: Barbara Schultz. Producer: George Schaefer. Director: George Schaefer. Writer: Robert Crean. With: Gene Hackman, Ralph Bellamy, Jane Wyatt. Preserved by the UCLA Film & Television Archive. Engineering services by CBS Media Exchange. Part of: Archive Television Treasures

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Made possible by the John H. Mitchell Television Programming Endowment In-person: In person: Q&A (after episode 1) with director Debra Granik and Coss Marte, owner of CONBODY, moderated by Distinguished Professor Robin D. G. Kelley, UCLA Department of History. 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. North American premiere of new director’s cut Each year, 650,000 people are released from prison in the U.S., only to confront stigma and systemic exclusion. Directed by Debra Granik (Winter’s Bone), Conbody vs Everybody follows Coss Marte, a former drug dealer turned fitness entrepreneur, and his community of formerly incarcerated New Yorkers as they build a gym — and a life — on their own terms. Spanning eight years, the five-part docuseries captures their humor, grit and moral clarity amid gentrification and the pandemic, asking one of the most urgent moral questions of our time: after someone serves their sentence, why do we keep them imprisoned? Episode 1 As Conbody’s profile rises with increased media attention, Coss works to find investors and secure a permanent space. DCP, color, 62 min. Episode 2 Conbody trainer Shane hits a setback and Coss and the team pitch in to help. DCP, color, 62 min. Episode 3 Syretta starts as a trainer at Conbody after her recent return home from prison. Coss supports his younger brother’s first run for City Council. DCP, color, 67 min. Director: Debra Granik With: Coss Marte, Syretta Wright, Derek Drescher. —Public Programmer Beandrea July Part of: Debra Granik Presents: Conbody vs Everybody

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Made possible by the John H. Mitchell Television Programming Endowment In-person: post-screening Q&A with director Debra Granik and Coss Marte, owner of CONBODY. 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. New director’s cut Each year, 650,000 people are released from prison in the U.S., only to confront stigma and systemic exclusion. Directed by Debra Granik (Winter’s Bone), Conbody vs Everybody follows Coss Marte, a former drug dealer turned fitness entrepreneur, and his community of formerly incarcerated New Yorkers as they build a gym — and a life — on their own terms. Spanning eight years, the five-part docuseries captures their humor, grit and moral clarity amid gentrification and the pandemic, asking one of the most urgent moral questions of our time: after someone serves their sentence, why do we keep them imprisoned? Episode 1 As Conbody’s profile rises with increased media attention, Coss works to find investors and secure a permanent space. DCP, color, 62 min. Episode 2 Conbody trainer Shane hits a setback and Coss and the team pitch in to help. DCP, color, 62 min. Episode 3 Syretta starts as a trainer at Conbody after her recent return home from prison. Coss supports his younger brother’s first run for City Council. DCP, color, 67 min. Director: Debra Granik With: Coss Marte, Syretta Wright, Derek Drescher. —Public Programmer Beandrea July Part of: Debra Granik Presents: Conbody vs Everybody

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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. North American premiere of new director’s cut Each year, 650,000 people are released from prison in the U.S., only to confront stigma and systemic exclusion. Directed by Debra Granik (Winter’s Bone), Conbody vs Everybody follows Coss Marte, a former drug dealer turned fitness entrepreneur, and his community of formerly incarcerated New Yorkers as they build a gym — and a life — on their own terms. Spanning eight years, the five-part docuseries captures their humor, grit and moral clarity amid gentrification and the pandemic, asking one of the most urgent moral questions of our time: after someone serves their sentence, why do we keep them imprisoned? Episode 4 Coss celebrates five years home from prison. The team changes locations and new trainers join the team. Coss grows increasingly frustrated with reluctant investors. Includes an appearance by late actor Michael K. Williams. DCP, color, 68 min. Episode 5 Coss and the CONBODY team navigate the COVID-19 pandemic and the subsequent Black Lives Matter protests as they take hold in New York City. Coss’ brother takes another run at City Council. Coss and his girlfriend Roxie take a step forward together. DCP, color, 66 min. Director: Debra Granik. With: Coss Marte, Syretta Wright, Derek Drescher. —Public Programmer Beandrea July Part of: Debra Granik Presents: Conbody vs Everybody

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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 Face in the Crowd U.S., 1957 “What do I get out of this?” asks Andy Griffith’s “Lonesome” Rhodes of Patricia Neil’s radio producer touring an Arkansas jail for local musical talent. In his rise to fame and influence, Rhodes’ narcissistic motivation remains the same throughout A Face in the Crowd, no matter what Everyman platitudes people project on him. Radio gets him started but television is the new medium that vaults him to the pinnacle of political power. With McCarthyism still in the air, director Elia Kazan and screenwriter Budd Schulberg pitch a darker take on populism than Frank Capra’s in Meet Doe Joe, but they still share a faith in the American public’s natural resistance to authoritarian appeals that, for all the film’s prophetic bone fides, feels naive in retrospect.—Senior Public Programmer Paul Malcolm 35mm, b&w, 126 min. Director: Elia Kazan. Screenwriter: Budd Schulberg. With: Andy Griffith, Patricia Neal, Anthony Franciosa. 35mm preservation print courtesy of the UCLA Film & Television Archive. Preserved by the UCLA Film & Television Archive with funding provided by The Film Foundation and the Hollywood Foreign Press Association. Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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In-person: Q&A with filmmaker Elena Dorfman; Ariel West, artist-in-residence, 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 DREAM & THE LIE U.S., 2024 For over four decades, from 1944–1991, Albania was ruled by one of the most repressive dictatorships anywhere in the world. For most of that time, the Marxist-Leninist regime was led by Enver Hoxha, who ruthlessly suppressed any opposition and kept his fearful population isolated from the outside world. Throughout that period, Albanians could see images of themselves and their country only as represented in the fiction features and documentaries produced by the state-run New Albania Kinostudio. In 1993, two years after the end of the regime, Albanian American visual artist and photographer Elena Dorfman began regularly visiting her mother’s home country and in 2018 she was granted unprecedented access to the collection of the Albanian National Film Archive. The result of her archival research, Dorfman’s experimental feature documentary, THE DREAM & THE LIE brings scenes from the archive’s film holdings together in a widescreen triptych image that can feel both epic and intimate in scale all at once. A captivating exploration of how movies were used by the regime to construct a powerful national mythology that penetrated deep into daily life, THE DREAM & THE LIE is also a visually arresting example of how artists can creatively and productively engage with archival material. The UCLA Film & Television Archive is pleased to host Elena Dorfman at the Billy Wilder Theater for a screening of THE DREAM & THE LIE followed by an in person conversation with the Archive’s 2025 Artist-in-Residence Ariel West about the film and relationship between the artist and the archive. DCP, color and b&w, 70 min. Director: Elena Dorfman. Programmed and note written by Senior Public Programmer Paul Malcolm. Part of: THE DREAM & THE LIE

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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. Inside Out If adolescence can sometimes look a little messy on the outside that’s because it’s complete emotional chaos on the inside. Pixar’s instant classic about growing up takes us inside the mind of Riley, a rural teenager whose struggle with alienation after a big city move is compounded by her personified feelings, Joy, Sadness, Fear, Anger and Disgust, who must learn to appreciate each other so Riley can thrive again in her new environment. DCP, color, 95 min. Director: Pete Docter, Ronnie Del Carmen. Screenwriter: Josh Cooley. With: Amy Poehler, Phyllis Smith, Richard Kind. Recommended for ages 6+ Part of: Family Flicks

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Introduction by guest programmer Janet Louie, Ph.D. candidate, Harvard University. Post-screening Q&A with Louie and Michael Berry, director of UCLA Center for Chinese Studies.

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Introduction by film scholar Steve Anker and a pre-recorded video with filmmaker Lynne Sachs. Guest speaker Presented by the UCLA Film & Television Archive, Los Angeles Filmforum/Rotations and the Academy Museum. Please note: This screening takes place at 2220 Arts + Archives, 2220 Beverly Blvd., Los Angeles, CA 90057 Total runtime: 80 min.

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Introduction by film scholar Steve Anker and a pre-recorded video with filmmaker Lynne Sachs. Guest speaker Presented by the UCLA Film & Television Archive, Los Angeles Filmforum/Rotations and the Academy Museum. Please note: This screening takes place at the Academy Museum, 6067 Wilshire Blvd., Los Angeles, CA 90036 Total runtime: 74 min.

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Introduction by film scholar Steve Anker. Presented by the UCLA Film & Television Archive, Los Angeles Filmforum/Rotations and the Academy Museum.

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Q&A with filmmaker Charles Burnett and Ashley Clark, author of The World of Black Film: A Journey Through Cinematic Blackness in 100 Films.

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In person: Introduction, including a brief talk, by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Q&A with actor Anne-Marie Johnson and Spring Mooney, daughter of comedian and actor Paul Mooney.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Here Eddie Murphy stands at the center of the Black Pack as Prince Akeem, heir to the throne of Zamunda, who leaves royal luxury for Queens, New York, in search of love on his own terms. The most commercially successful Black comedy feature of its era, this blockbuster is also a case study in power and authorship, as Murphy gives a tour de force performance of multiple characters and earns a “story by” credit. Ultimately, the film shows how box office clout enabled Black cultural specificity while embedding sharp critiques of race, class and respectability within mainstream studio comedy. Director: John Landis. Screenwriter: David Sheffield, Barry W. Blaustein. With: Eddie Murphy, Arsenio Hall, James Earl Jones.

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A Depression era-set Southern Gothic thriller, The Night of the Hunter tells an adult story through the eyes of children. Actor-turned-director Charles Laughton described it as a “fairy tale of the Big Bad Wolf’s pursuit of the Little Pigs.” Robert Mitchum stars as the wolf in preacher’s clothing pursuing the two children of a widow (Shelley Winter) who know about a stash of ill-gotten loot. A dream-like work thanks in part to the unique cinematography by Stanley Cortez, it turns feverishly on dualities — heaven and hell, good versus evil, the sacred and profane — while paying homage to the silent era with Lillian Gish also starring.—Theater Manager Lauren Brown Director: Charles Laughton. Screenwriters: James Agee, Charles Laughton. With: Robert Mitchum, Shelley Winters, Lillian Gish.

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Presented by the UCLA Film & Television Archive and UCLA Asian American Studies Center In person: Introduction by Associate Professor Josslyn Luckett, NYU Cinema Studies, and Professor Karen Umemoto, Helen and Morgan Chu Director of the UCLA Asian American Studies Center. Q&A with Luckett; filmmaker Tadashi Nakamura; film producer Karen L. Ishizuka, widow of Robert A. Nakamura and mother of Tadashi Nakamura; and Celine Parreñas Shimizu, dean, UCLA School of Theater, Film and Television. Guest speaker This program is a continuation of Toward a More Perfect Rebellion: Multiracial Student Activism at UCLA, which celebrates the radical filmmaking legacy of UCLA’s affirmative action initiative, the Ethno-Communications Program (1969–1973). This iteration honors Ethno-Communications alumnus Robert A. Nakamura (1936–2025), who taught film at UCLA for over 30 years and was widely known as the “godfather of Asian American media.” A co-founder of the pioneering media organization Visual Communications, Nakamura co-directed a milestone feature-length film made by and about Asian Pacific Americans, Hito Hata: Raise the Banner (1980). Shaped by his internment at age six in the prison camp Manzanar during World War II, he transformed personal history into landmark films that helped change how Asian Americans are seen on-screen. Series programmed by Associate Professor Josslyn Luckett, NYU Cinema Studies, and Public Programmer Beandrea July. Notes written by Beandrea July.

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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. Singin’ in the Rain U.S., 1952 Gene Kelly and Debbie Reynolds shine in perhaps the greatest Hollywood musical of all time. Propelled by a crackling script and exuberant song-and-dance routines, Kelly plays a silent movie star trying to make the leap to talkies, while Reynolds’ struggling chorus girl finds her entry into Hollywood no less complicated. With Donald O’Connor delivering the delirious gags, this timeless classic will leave you with a glorious feeling. 35mm, color, 103 min. Director: Gene Kelly, Stanley Donen. Screenwriter: Betty Comden, Adolph Green. With: Gene Kelly, Donald O’Connor, Debbie Reynolds. Recommended for ages 6+ Part of: Family Flicks

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In person: Introduction by UCLA AMIA Student Chapter members Clare Britton and Molly Regan. Guest speaker Presented by the UCLA Film & Television Archive and the UCLA AMIA Student Chapter. Avant-garde cinema represents films that are experimental or innovative, typically rejecting traditional narrative structures while exploring abstract concepts and emphasizing visual and aural elements. Avant-garde animation often utilizes techniques that abstract form, defy continuity and emphasize musicality. Programmed by Molly Regan. Notes written by Clare Britton and Molly Regan.

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In person: Introduction by UCLA AMIA Student Chapter Programmer Noah Brockman. Presented by the UCLA Film & Television Archive and the UCLA AMIA Student Chapter. This program explores how reenactment exposes cinema’s inherent nature to simultaneously depict, reconstruct and reinterpret. In these films, our subjects perform their own stories, exploring the productive tensions between reality, art and representation on-screen. Programmed by Noah Brockman.

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Made possible by the John H. Mitchell Television Programming Endowment. Premiering in 1990, In Living Color exploded onto the Fox Television Network, reinvigorating the sketch comedy genre by showcasing a multiracial ensemble unafraid of controversy. Created by trailblazing multi-hyphenate Keenen Ivory Wayans, the innovative series turned primetime into a cultural battlefield, uproariously harnessing satire and spectacle to explore issues of race, class and celebrity. In his book, The Black Pack: Comedy, Race, and Resistance, author Artel Great situates In Living Color within the broader lineage of Black sketch comedy, illuminating how the innovative series served as an industrial weapon, seizing time, space and cultural power, often forcing America to laugh at what it preferred to ignore. In the process, the hit series won the Primetime Emmy Award for Outstanding Variety, Music or Comedy Series in 1990. Helping to launch a breakout cast of highly gifted comedians that included David Alan Grier, Daymon Wayans, Kim Wayans, Tommy Davison, Jamie Foxx and Jim Carrey, In Living Color introduced a lasting lexicon of original characters and catchphrases to pop culture, from Homey D. Clown (“Homey, don’t play that”) to Men on Film (“two snaps up”) that continue to resonate long after the series' final broadcast on Fox in 1994. Join us for a quartet of hilariously provocative episodes of In Living Color curated and introduced by author Artel Great.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Harlem Nights marks the only film written, directed, produced by and starring Eddie Murphy. Set in 1930s Harlem, the film imagines a world of Black nightlife, entrepreneurship and survival amid gangsters and corrupt cops. Anchored by a jazzy score blending big band and Duke Ellington standards, the film unites three generations of Black comedy — Redd Foxx, Richard Pryor and Murphy — alongside an overflowing ensemble cast. Often misunderstood on release, Harlem Nights stands as a bold assertion of authorship and creative control, envisioning Black autonomy over space, style and destiny. Director/Screenwriter: Eddie Murphy. With: Eddie Murphy, Richard Pryor, Redd Foxx, Jasmine Guy, Della Reese.

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In person: chef and restaurateur Alice Waters. Director Alfonso Arua’s Like Water for Chocolate was an arthouse sensation when first released and still defines the evocative power of food in film. Based on Laura Esquivel’s novel, its sensuous tale of forbidden love unfolds in early 20th-century Mexico when Tita is bound by family tradition to remain unmarried to care for her mother. Prevented from acting on her love for the handsome Pedro, she pours her passion and heartbreak into her cooking which has a magical, intoxicating effect on those who consume it. The intimacy of the heart and the intimacy of the kitchen transform culinary preparation into a powerful expression of desire, rebellion and yearning.—Senior Public Programmer Paul Malcolm Director: Alfonso Arau. Screenwriter: Laura Esquivel. With: Lumi Cavazos, Marco Leonardi, Regina Torné. 35mm print courtesy of the Sundance Collection at the UCLA Film & Television Archive.

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In person: Q&A with actor David Selby and historian Jim Pierson, editor of Dark Shadows Noir: Classic Black and White Photography From the Dan Curtis Productions Archive. Book signing with Pierson before the screening. Guest speaker Made possible by the John H. Mitchell Television Programming Endowment. Premiering on June 27, 1966, on ABC-TV, Dark Shadows (1966–71) represented an outré experiment in daytime television that became an unexpected breakout hit and evergreen cult classic. Created by horror-maestro Dan Curtis (The Night Stalker, Trilogy of Terror), the innovative soap opera, which initially struggled in the ratings, expanded greatly in popularity in its second year with the addition of a 175-year-old charismatic vampire character named Barnabas Collins (Jonathan Frid). As the eerily atmospheric series evolved to fuse gothic supernatural elements and romance into complex storylines, it developed a passionate youth following and became a pop culture phenomenon. In the process, the videotaped series earned the distinction of being the first soap to spawn a theatrical motion picture spin-off, House of Dark Shadows (1970), and several additional feature films and reboots. The beloved original series ran for over 1,200 episodes before its abrupt cancellation in 1971. In the ensuing decades, the aura surrounding Dark Shadows has only intensified, with the influential program enjoying nearly constant reruns in syndication, luring an influx of new viewers into the mysterious, shadow-drenched world of the wealthy Collins family of fictional Collinsport, Maine. Join us for a celebration of Dark Shadows, exactly 60 years to the day of its premiere, including the debut episode and rare archival footage. Before the screening, historian Jim Pierson will sign copies of Dark Shadows Noir: Classic Black and White Photography from the Dan Curtis Productions Archive. Following the screening, there will be a Q&A with Dark Shadows star, actor David Selby, and Jim Pierson. Programmed and note written by John H. Mitchell Television Curator Mark Quigley.

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Presented by UCLA Film & Television Archive and the Hammer Museum. The Billy Wilder Theater opens 15 minutes before each Family Flicks program.

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In person: director Karen Arthur; editor Carol Littleton; Paula Chambers, daughter of screenwriter and actor Joan Hotchkis; Eric Morris, acting teacher and director of the theatrical production of Legacy. Guest speaker Legacy is the story of Bissie Hapgood, a woman unraveling under the pressures of a vapid and materialistic society consumed with dinner-plate settings, soap operas and sexual frustration. The material originated as a one-woman show in 1973, written and performed by Joan Hotchkis, a versatile talent celebrated for her roles on television series including The Odd Couple and The Life and Times of Eddie Roberts. Karen Arthur, a first-time filmmaker, saw Hotchkis on stage and convinced the actor to adapt the screenplay and star in the film. Independently produced and financed, Legacy, like its peers Wanda (1970) and A Woman Under the Influence (1974), confounds 1970s Hollywood’s expectations with the introduction of a new kind of cinematic woman. Bissie stuns audiences with her honesty that is confrontational, yet heartfelt and a vulnerability that is never sentimental and always surprising. Legacy features an exceptional crew at the start of what would become a set of accomplished careers. Arthur, who would go on to direct The Mafu Cage (1978) and become a prolific television director, winning an Emmy Award for Cagney & Lacey, collaborated with cinematographer John Bailey (Ordinary People, 1980, In the Line of Fire, 1993) and editor Carol Littleton (E.T., 1982, The Manchurian Candidate, 2004). Note written by Archive Research and Study Center Officer Maya Montañez Smukler.

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Presented by UCLA Film & Television Archive and the Hammer Museum. The Billy Wilder Theater opens 15 minutes before each Family Flicks program.

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