### **ABOUT THE EPISODES:**

**Season 2, Episode 19, “Variations on Relations,” Dir. Jonathan Sanger, 47 Mins**

Pete and Catherine open the first puzzle box.

FORMAT: DCP

**Season 2, Episode 20, “The Path to the Black Lodge,” Dir. Stephen Gyllenhaal, 46 Mins**

Cooper convinces Annie to enter the Miss Twin Peaks contest.

FORMAT: DCP

### **ABOUT THE SERIES:**

**TWIN PEAKS, 1990, Paramount, USA**

A crime drama mixed with healthy doses of the surreal, this series is about FBI Agent Dale Cooper, who travels to the small logging town of Twin Peaks to solve the murder of seemingly innocent high schooler Laura Palmer. Almost nothing is as it seems, however, and the show’s sometimes eerie visuals, oddball characters and wild dream sequences drive the point home.

“Variations on Relations” and “The Path to the Black Lodge” ‘TWIN PEAKS: The Complete Series’

TWIN PEAKS: Season 2, Ep. 19 and 20

### **ABOUT THE FILMS:**

**“Le Déménagement,” 1992, Dir. Chantal Akerman, 39 Mins, Chantal Akerman Foundation, France**

*In French with English subtitles.*

Surrounded by unpacked boxes, a man delivers an extended monologue on indecision and regret.

FORMAT: DCP

**L’HOMME À LA VALISE, 1984, Dir. Chantal Akerman, 61 Mins, INA, France**

*In French with English subtitles.*

A woman returns to her apartment after a two-month absence. She finds a distant acquaintance settled in as if he owned the place and seemingly unwilling to leave. Disheartened, she retreats to a bedroom. A game of cat and mouse ensues between the invader and the captive.

FORMAT: DCP

Photo courtesy of Collections CINEMATEK © Chantal Akerman Foundation ‘Chantal Akerman: An American Cinematheque Retrospective’

“Le Déménagement” / L'HOMME À LA VALISE

Los Feliz Theatre

Tobruk / Rough Night in Jericho

New Beverly Cinema

**Producers**: Danielle Varga,  Sasha Wortzel

Artist and Filmmaker **Sasha Wortzel** joins us in the microcinema for a screening of her dreamy and poetic documentary *River of Grass*.

*River of Grass* is a present-day reimagining of environmentalist Marjory Stoneman Douglas’s celebrated book, “*The Everglades: River of Grass*,” (1947), which transformed the public’s understanding of the area from worthless swamps to an essential source of freshwater, enabling the ecosystem to endure, just barely, today.

Interweaving Douglas&#8217;s writing, present-day verité, and archival glimpses, *River of Grass* reveals how this country’s origin story haunts and inextricably shapes contemporary American life, while asking how we might weather coming storms better together.

“*Wortzel’s film is a clarion call to protect Florida’s greatest resource.*” &#8211; RogerEbert.com

&#8220;*A variety of perspectives add up to something as exquisitely crystalline, allowing you to get lost in its beauty without losing sight of how easily broken it can be*.&#8221; -The Moveable Feast

&#8220;*A rare environmental film to succeed both in expressing collective grief about climate change and inspiring activism to adapt and resist further depredations.*&#8220;- Filmmaker Magazine

Sasha Wortzel is a celebrated artist, with work is in the permanent collections of the Brooklyn Museum, Studio Museum of Harlem, Leslie Lohman Museum of Art, and Miami-Dade County Art in Public Places.

River of Grass

**KCRW**,** Vidiots**, and** Prime Video** invite you to a special screening of ***Jury Duty Presents: Company Retreat****, *episodes 7-8 followed by a conversation with executive producers, **Todd Schulman **and** Nicholas Hatton**, and director and executive producer **Jake Szymanski**.

*Jury Duty Presents: Company Retreat *is a documentary-style comedy that captures a corporate offsite event at a family-owned hot sauce company from the perspective of Anthony, a recently hired temporary worker. Unbeknownst to Anthony, the entire experience is staged, every colleague around him is performing a role, and each moment &#8211; whether in conference rooms or during downtime &#8211; has been meticulously orchestrated. As the founder prepares to step down, the getaway transforms into a clash between big corporate ambitions and small business values, with control of the company hanging in the balance.

Doors will Open at 6:30pm, Screening will start at 7:30pm with conversation to follow. 

Guests must RSVP to attend. For more information and to RSVP click [here](http://events.humanitix.com/kcrw-partner-screening-jury-duty-presents-company-retreat).

Please note that this screening is first-come-first-served, and your RSVP does not guarantee entry. As we are hoping to accommodate as many people as possible, all free screenings are overbooked to account for no-shows. We recommend an early to on-time arrival, we may not be able to accommodate late entries.

Jury Duty Presents: Company Retreat

Vidiots

The Scarlet Empress

The Rip

Vista Theatre

Mezzanine presents PHANTOM BEIRUT (أشباح بيروت), a film by Ghassan Salhab. 1998, France/Lebanon, 117m, DCP.

U.S. premiere of a brand-new 2K restoration

~

"An intelligent thriller of deception, loyalty and betrayal.” -The New York Times

“\[Salhab\] weaves the familiar Lebanese themes of exile, destruction, memory, hope and illusions into a poem to a beloved city and its people, as scarred as its buildings." -Variety

Among the most beautiful cinematic evocations of the Lebanese Civil War, director Ghassan Salhab’s remarkable feature debut captures the everyday rhythms of Beirut in the late ‘80s, where citizens live a potent mixture of nostalgia and fear amid a seemingly endless conflict. After faking his own death during battle, Khalil (Aouni Kawas) returns to Beirut under a new identity, forced to confront the old friends and comrades he left behind a decade earlier. Interspersed with onscreen interviews with cast members, Salhab’s offbeat thriller is a time capsule of a city and a people continuing to live with the ghosts of their past.

In Arabic with English subtitles. A Several Futures release. Special thanks to Graham Carter.

Mezzanine: Ghassan Salhab's Phantom Beirut

2220 Arts + Archives

Barton Fink in 35mm

Being There in 35mm

Academy Museum

### **ABOUT THE FILM:**

**DIRTY HARRY, 1971, Dir. Don Siegel, 102 Mins, Warner Bros. USA**

When detective Harry Calahan is assigned to pay extortion money to a serial murderer, the payoff goes wrong. Now with the life of a 14-year-old girl at stake, Callahan refuses to allow anything-including the law-to keep him from stopping the killer.

FORMAT: DCP

### **ABOUT THE EPISODE:**

**Season 3, Episode 6, “Stand Still and See,” Dir. Sam Levinson**

FORMAT: DCP

### **ABOUT THE SERIES:**

**EUPHORIA, 2026, HBO, USA**

Created, written, directed and executive produced by Emmy nominee and DGA Award winner Sam Levinson, starring Emmy winner Zendaya, and produced in partnership with A24, the third season of the critically acclaimed pop culture juggernaut EUPHORIA examines a group of childhood friends wrestling with the virtue of faith, the possibility of redemption, and the problem of evil.

Q&A with creator, writer, director and executive producer Sam Levinson Popcorn and soda courtesy of HBO Max ‘FAITH, REDEMPTION, EVIL: EUPHORIA Inspirations’

DIRTY HARRY / EUPHORIA

Aero Theatre

A night in the life of two best friends. Is this the greatest, truest depiction of the teenage feeling? Shoulda been handing out the Oscars here, that&#8217;s for damn sure.

Superbad

Brain Dead Studios

When a single mother and her two sons move to the sleepy seaside California town of Santa Carla, they discover much more than they anticipated in this visually stunning blend of hip humor, horror and rock 'n' roll about the most compelling group of contemporary vampires ever to put fang to vein.

The Lost Boys

Less than 24 hours into his parole, charismatic thief Danny Ocean is already rolling out his next plan: In one night, Danny's hand-picked crew of specialists will attempt to steal more than $150 million from three Las Vegas casinos. But to score the cash, Danny risks his chances of reconciling with ex-wife, Tess.

Ocean's Eleven

In the sun-drenched expanse of the New Mexico desert lies The Boroughs, a picturesque retirement community promising its residents the time of their lives. But for new arrival Sam Cooper, paradise feels more like a prison. Everything changes when a terrifying nighttime encounter reveals that something monstrous is stalking the manicured cul-de-sacs. Dismissed by the powers that be as just another confused old man, Sam finds unlikely allies in a band of neighborhood misfits: a sharp-witted former journalist, a spiritual seeker, a cynical music manager, and a brilliant doctor running out of options. Overlooked and underestimated, these unlikely heroes must band together to unravel the dark truth at the heart of The Boroughs before their time runs out.

The Boroughs

Egyptian Theatre

Movie theater chain established in 1938 showcasing the latest independent, foreign & art films.

This unique series is hosted by filmmaker Stanley Sheff, who worked closely with Welles as a collaborator, editor, and un-credited co-director on his unsold TV pilot The Orson Welles Show. Sheff will share stories from their professional collaboration and personal friendship, giving audiences a rare first-hand glimpse into the private world of Orson Welles.Doors at 7pm, show at 7:30pm and film at 8pm.

Tonight's show:THE STRANGER Wilson of the War Crimes Commission is seeking Franz Kindler, mastermind of the Holocaust, who has effectively erased his identity. Wilson releases Kindler's former comrade Meinike and follows him to Harper, Connecticut, where he is killed before he can identify Kindler. Now Wilson's only clue is Kindler's fascination with antique clocks; but, though Kindler seems secure in his new identity, he feels his past closing in.

THE STRANGER

Fine Arts Theatre

Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of more than 150,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population. LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.

LACMA members are invited to join FILM at LACMA for a special screening of *Bait*, followed by a conversation with creator, co-showrunner, executive producer, and featured actor Riz Ahmed; co-showrunner, executive producer, and writer Ben Karlin; executive producer Allie Moore; music supervisor Ciara Elwis; and director Bassam Tariq.

From Oscar and Emmy winner Riz Ahmed comes *Bait*, a comedy about Shah Latif, a struggling actor. His last chance to hit it big comes in the form of an audition of a lifetime. We follow him over the course of four wild days as his life spirals out of control and his family, ex-lover and the entire world weigh in on whether he is the right man for the job. 

Watch the [official trailer.](https://www.youtube.com/watch?v=FpAhwL91HyA)

You will receive a link to view the episodes on the event date.

**This screening is hosted by Slipstream, a LACMA-approved third-party screening platform. If you have not previously registered with Slipstream, you will be asked to provide a valid email address and set a password to create an account.**

Emmy Award®-Contender Series: Bait and Post-Screening Conversation

LACMA

### **ABOUT THE FILM:**

*In Polish with English subtitles.*

Before he stunned the cinematic world with the epic DEKALOG series and the Three Colors trilogy, the great Polish filmmaker Krzysztof Kieślowski made his first work of metaphysical genius, BLIND CHANCE, a compelling drama about the difficulty of reconciling political ideals with personal happiness. This unforgettable film follows Witek (the magnetic Bogusław Linda), a medical student with an uncertain future in Communist Poland; Kieślowski dramatizes Witek’s journey as a series of different possibilities, suggesting that chance rules our lives as much as choice does. First suppressed and then censored by the Polish government, BLIND CHANCE is here presented in its complete original form.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: Poland

Co-presented with the Polish Cultural Institute New York ‘Krzysztof Kieślowski: An American Cinematheque Retrospective’

BLIND CHANCE

### **ABOUT THE FILM:**

*In French with English subtitles.*

Monique (Monique Melinand) is dying of cancer, lying in bed in the apartment above the store her family owns. Her philandering husband, Roger (Hubert Deschamps), carries on with life, groping the female customers. Her son, Philippe (Philippe Léotard), remains aloof and impatient. Her daughter-in-law, Nathalie (Nathalie Baye), wonders if she is witnessing her own future decline. The four individuals struggle to express, or even feel, their love for one another, as they await the inevitable. 

FORMAT: DCP

DISTRIBUTOR: Cohen Media Group

COUNTRY: France

‘Maurice Pialat: An American Cinematheque Retrospective’

THE MOUTH AGAPE

A portrait of Pritzker award winning architect BV Doshi—a meditative exploration of his deeply philosophical design mission

THE PROMISE: ARCHITECT BV DOSHI (2023) — Philosophy of Design screening

Philosophical Research Society

**Screenwriter**: Ed Solomon

**Producers**: Iain Canning,  Jim Parks

Join us in the microcinema for Steven Soderbergh&#8217;s latest triumph, a brilliant artistic character study with phenomenal performances from Ian McKellen and Michaela Coel. A mainstay of the London art scene since his starry breakout in the creative explosion of the 1960’s, Julian Sklar (Ian McKellen) has drifted into a cluttered, self-imposed seclusion. His two estranged children (James Corden, Jessica Gunning) enlist Lori (Michaela Coel), a young painter and sometime-forger, to pose as a prospective assistant and gain access to a fabled series of unfinished canvases Julian has buried deep in his home studio, in a deceptive bid to secure an inheritance for themselves.

The Christophers

Blonde Dynamite/No Holds Barred

Cure in 4K

Dreams (Yume) in 35mm

### **ABOUT THE FILMS:**

**ROMY AND MICHELE’S HIGH SCHOOL REUNION, 1997, Dir. David Mirkin, 92 Mins, Disney, USA**

Two friends try to reinvent themselves to impress old classmates.

FORMAT: DCP

**THE WEDDING SINGER, 1998, Dir. Frank Coraci, 95 Mins, Warner Bros., USA**

In this fun return to the fashion-challenged 1980s, aspiring rock ‘n’ roller Robbie Hart (Sandler) has a regular gig singing at weddings and a fiancée who’s about to break his heart. When he’s left at the altar at his own wedding, he becomes a newlyweds’ worst nightmare … until he realizes he’s free to rescue the woman he really loves (Drew Barrymore) from her boorish fiancé.

FORMAT: DCP

Q&A with costume designer Mona May ‘AS IF!: The Costumes of Mona May’

ROMY AND MICHELE'S HIGH SCHOOL REUNION / THE WEDDING SINGER

Gardena Cinema is the oldest and only vintage single-screen stand-alone movie cinema in Southwest Los Angeles.

Bastian finds a magical book in an old bookstore that takes him on an adventure into the land of Fantasia.

THE NEVERENDING STORY (1984)(PG) Atreyu: Noah Hathaway In-Person 7:30pm

Gardena Cinema

Celebrate Harry Smith’s (1923–1991) birthday and the closing weekend of *Brain Drawings: The Art of Harry Smith*, on view at the [Philosophical Research Society][1], with a special guided viewing at the Getty Research Institute of material by the artist, musicologist, filmmaker, and esoteric icon. Through [objects from the Getty Research Institute’s collection][2], including Smith’s paper airplanes, tarot cards, pop-up books, and string figures, exhibition curator Rani Singh will share insights into Smith’s experimental pursuits and radical nonconformity that has inspired bohemians and artists for generations.  

The celebration continues with drop-in art-making stations inspired by [Smith’s whimsical personal collection of paper airplanes][3]. 

*Brain Drawings: The Art of Harry Smith* is open through May 31 at the Philosophical Research Society. 

Visit the Getty Research Institute's [Exhibitions and Events page][4] for more free programs.


  [1]: https://www.prs.org/
  [2]: https://www.getty.edu/research/collections/collection/113YH9
  [3]: https://www.getty.edu/news/treasures-from-the-vault-harry-smith-and-patterns-in-the-wind/
  [4]: https://www.getty.edu/research/exhibitions_events/

Show & Tell: Harry Smith Archive

Getty Center

*West Coast Premiere of New Restoration*

Named by *Film Comment* as one of the best restorations of 2025, director Ossie Davis’ third feature is finding its audience more than 50 years after its original release. The play on which the film is based, *Black Girl*, by J. E. Franklin, who wrote the screenplay, was already a landmark of Black theater after a record-setting off-Broadway run in 1971 that earned Franklin the Drama Desk Award for Most Promising Playwright. Actor-turned-director Davis was coming off the box office success of his *Cotton Comes to Harlem* (1970), an adaptation of Chester Himes’ politically charged detective novel that helped spark the Blaxploitation wave of the 1970s. In a contemporaneous interview, civil rights icon Davis nevertheless lamented the lack of films about the “trials and tribulations of the Black middle class.” For the family in *Black Girl, *the personal and cultural politics of upward mobility are central to the conflicts among three generations of Black women. The youngest, Billie Jean (Peggy Pettitt), strives to become a dancer, earning taunts from her half-sisters (Gloria Edwards, Lorette Greene). Their mother, Rose (Louise Stubbs), still stinging from her own mother’s indifference, has seemingly given up on her own children, placing her hopes in Netta (Leslie Uggams), a neighborhood girl she took in now studying for law school. Every member of the ensemble cast — including a swaggering Brock Peters as Rose’s ex — rises to the occasion as their characters clash in a cramped Venice, California, home, prompting *Variety* to declare *Black Girl* the best depiction of Black family life “since Lorraine Hansberry’s *A Raisin in the Sun*.” The film’s distributor, however, gave it an exploitation-style release, booking it in action houses with posters promising the same, leading the trade paper to complain the strategy would “keep away serious filmgoers who would have been rewarded by the fine directing and acting.” *Black Girl* now stands ready for rediscovery.—*Paul Malcolm*

DCP. **Production:** Marconlee. **Distribution:** Cinerama Releasing. **Producer:** Robert H. Greenberg. **Director:** Ossie Davis. **Screenwriter:** J. E. Franklin. Based on the play by J. E. Franklin. **Cinematographer**: Glenwood J. Swanson. **With:** Brock Peters, Claudia McNeil, Leslie Uggams, Louise Stubbs, Peggy Pettitt.

*Restoration funding provided by the Hobson/Lucas Family Foundation. Restored by the UCLA Film & Television Archive and The Film Foundation from 35mm acetate original picture and track negatives. Laboratory services by illuminate Hollywood, Audio Mechanics, Simon Daniel Sound, Fotokem. Special thanks to J. E. Franklin, Malika Nzinga.*

Black Girl

*World Premiere of New Preservation*

With original commercials

Hosted by comedian Redd Foxx, …*& Beautiful* was the first syndicated television special produced for African American audiences to be sponsored by a Black-owned company (Johnson Products, makers of Afro Sheen). Directed by trailblazer Mark Warren, the first African American to win an Emmy Award in a directing category (for his work on *Laugh-In*), the groundbreaking music-variety special offered viewers a rare primetime showcase foregrounding Black excellence and pride. Dynamically stylized with Afrocentric and psychedelic designs and costuming, the vibrant production represents an invaluable late-’60s audiovisual time capsule documenting the joy, liberation and empowerment of the Black Is Beautiful movement.*—Mark Quigley*

DCP. Syndicated. **Production:** Western Video Production. **Executive Producer:** Richard Gottlieb. **Producer:** Mark Warren. **Director:** Mark Warren. **Writer:** Cal Wilson. **With:** Redd Foxx, Della Reese, Donald McKayle Dancers.

*Preservation funding provided by the John H. Mitchell Television Preservation Endowment. Preserved by the UCLA Film & Television Archive from an original 2 in. videotape. Engineering services by CBS Media Exchange.*

...& Beautiful

Hammer Museum

Join host Katja Bartholmess for an open writing studio at Heavy Manners Library from 1-3! No frills, no prompts, just write!

**

Manuscripts, Screenplays, Articles … whatever you’re working on, let’s do it in each other’s company!

Afternoon Writing Session**

1:00pm to 3:00pm

Drop in and stay a while!

Writing Gets Lonely: Open Writing Studio (5/29)

Heavy Manners Library

### **ABOUT THE FILM:**

In the late 1990s, eight-year-old Sasha and her family relocate to a new home on Vancouver Island, but their fresh start is interrupted by increasingly dangerous behavior from the eldest son, Jeremy. At wit’s end, their parents are presented with a shattering choice. Award-winning director Sophy Romvari’s feature debut is a lyrical and profound testament to the things we carry with us, masterfully chronicling the haze of a languid summer and the hyaline clarity of the moments that defined it.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: Canada/Hungary

BLUE HERON

### **ABOUT THE FILMS:**

**“Talking Heads,” 1980, Dir. Krzysztof Kieślowski, 16 Mins, Poland**

*In Polish with English subtitles.*

Krzysztof Kieślowski made more than twenty documentaries, including the following short. In “Talking Heads,” Kieślowski poses the questions “What year were you born?” “Who are you?” and “What do you most wish for?” to forty different people, ranging from an infant to a one-hundred-year-old woman.

FORMAT: DCP

**“Refrain,” 1972, Dir. Krzysztof Kieślowski, 10 Mins, Poland**

*In Polish with English subtitles.*

The ten-minute-long “Refrain” deals with a funeral home and targets bureaucracy, corruption and dispassionate attitudes toward sorrowful fellow citizens.

FORMAT: DCP

**“I Was a Soldier,” 1971, Dir. Krzysztof Kieślowski, 16 Mins, Poland**

*In Polish with English subtitles.*

A group of veterans recount a horrifying experience of being trapped in a minefield, resulting in each losing their sight.

FORMAT: DCP

**“From a Night Porter’s Point of View,” 1977, Dir. Krzysztof Kieślowski, 17 Mins, Poland**

*In Polish with English subtitles.*

Portrait of a factory porter, a fanatic of strict discipline, who extends his power even into his personal life as he tries to control everybody and everything in the belief that ‘rules are more important than people.’

FORMAT: DCP

**“Railway Station,” 1980, Dir. Krzysztof Kieślowski, 13 Mins, Poland**

*In Polish with English subtitles.*

Krzysztof Kieślowski began his career making documentaries. Presented here is “Railway Station,” one of his nonfiction shorts.

FORMAT: DCP

**“Seven Women of Different Ages,” 1980, Dir. Krzysztof Kieślowski, 16 Mins, Poland**

*In Polish with English subtitles.*

Krzysztof Kieślowski made more than twenty documentaries, including this wryly observed short, which profiles seven ballet dancers, one for each day of the week. From a fledgling student to a star ballerina in her prime to an older dancer now cast out of the spotlight, each miniature portrait offers a glimpse of the grueling work and behind-the-scenes struggles that make up a dancer’s journey through life.

FORMAT: DCP

Introduction by film critic, educator and scholar Doug Cummings Co-presented with the Polish Cultural Institute New York and WFDiF ‘Krzysztof Kieślowski: An American Cinematheque Retrospective’

Krzysztof Kieślowski Documentary Shorts Program

### **ABOUT THE FILM:**

*In French with English subtitles.*

The singular French director Maurice Pialat puts his distinctive stamp on the lost-youth film with this devastating portrait of a damaged foster child. We watch as ten-year-old François (Michel Terrazon) is shuttled from one home to another, his behavior growing increasingly erratic, his bonds with his surrogate parents perennially fraught. In this, his feature debut, Pialat treats that potentially sentimental scenario with astonishing sobriety and stark realism. With its full-throttle mixture of emotionality and clear-eyed skepticism, L’ENFANCE NUE was advance notice of one of the most masterful careers in French cinema, and remains one of Pialat’s finest works.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: France

L'ENFANCE NUE

### **ABOUT THE FILM:**

A cyborg (Arnold Schwarzenegger) is sent into the past to protect Sarah Connor (Linda Hamilton) and her teen son John (Edward Furlong) from a new advanced model cyborg T-1000 (Robert Patrick) in a bid to stop a future war between humans and the intelligent machine SkyNet.

FORMAT: DCP

DISTRIBUTOR: Rialto Pictures

COUNTRY: USA

TERMINATOR 2: JUDGMENT DAY

Crimson Tide / Déjà Vu

Django Unchained

Stephanie, a restless and vibrant actress, meets Gerard, an NYPD counter-terrorism specialist who’s an aficionado of experimental theater (and maybe out of his mind). Flirtation ensues, ends disastrously, and forces Stephanie to the ramshackle upstate home of musician Eleanor Friedberger, yet this supposed escape is infected by violent memories of her past life. Directed by Paul Felten and Joe DeNardo, and starring Stephanie Hayes, Chloë Sevigny, Scott Shepherd and Eleanor Friedberger, *Slow Machine* is a miniature epic of paranoia, espionage, subterfuge, music, and performance captured on lush and invigorating 16mm.

Slow Machine

Now Instant Image Hall

**Screenwriter**: Sophy Romvari

**Producers**: Ryan Bobkin, Sara Wylie, Sophy Romvari, Gábor Osváth

In the late 1990s, eight-year-old Sasha and her family relocate to a new home on Vancouver Island, but their fresh start is interrupted by increasingly dangerous behavior from the eldest son, Jeremy. At wit’s end, their parents are presented with a shattering choice. Award-winning director Sophy Romvari’s feature debut is a lyrical and profound testament to the things we carry with us, masterfully chronicling the haze of a languid summer and the hyaline clarity of the moments that defined it.

Blue Heron

**Screenwriter**: George Gallo

**Producer**: Martin Brest

Robert De Niro and Charles Grodin team up in Martin Brest&#8217;s delirious odd couple crime comedy classic *Midnight Run*. It&#8217;s fun fun fun on the run with this action-packed caper as the two stars play perfectly off each other as they hide from the mob, the feds, and hurtle towards LA on a high speed cross-country chase. De Niro plays a bounty hunter who has been hired to escort a mob accountant back to LA with the FBI and rival gangbosses hot on their trail. Will the heat catch up with them, or will all the Grodinisms drive De Niro out of his mind before he can get them both to safety? Bring your oddball bestie on a ridiculous road trip to find out!

**Picks from the Video Store**

Looking to do a Grodin deep dive? We&#8217;ve got you covered with these titles and so many more!

*The Lonely Guy, Seems Like Old Times, The Heartbreak Kid*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

Midnight Run

**Screenwriter**: Hiroshi Takahashi

**Producer**: Nobuhiro Iizuka

Kiyoshi Kurosawa&#8217;s dark gangland thriller with philosophical overtones. Obsessed with avenging his young daughter’s murder, yakuza subordinate Miyashita (Teruyuki Kagawa) recruits Nijima (Aikawa), a brilliant yet strangely detached math teacher, to help carry outcarry out a scheme to kidnap and torture the man allegedly responsible. But the plan goes awry when their target, Otsuki (Yurei Yanagi), fingers another mobster as the mastermind behind Miyashita’s tragedy. As the two partners ascend the yakuza chain of command in search of the true culprit, Miyashita and Nijima follow the cold, calculating logic of revenge, descending into a moral abyss from which they may never surface. Featuring Kurosawa’s patented long takes and his claustrophobic arrangement of space, *Serpent’s Path* is one of the legendary director’s most chilling investigations into the endless cycle of violence and the evil that lodges in every heart.

**Picks from the Video Store**

Take home more Kiyoshi Kurosawa films tonight from his director&#8217;s section!

*Bright Future, Seance, Cure*

**Accessibility Options**: Open Captions, Amplified Audio, please see the box office for devices.

Serpent’s Path

**Producers**: Lance Oppenheim, Mel Oppenheim, Lauren Cioffi, Xander Robin

Join us in the microcinema for one wild serpentine ride with Xander Robin&#8217;s *The Python Hunt*, a documentary as entertaining as it is rich in societal and environmental questions and revelations. In an attempt to save the threatened ecosystem, the Florida government hosts an annual competition to remove invasive pythons from the Everglades. For ten grueling nights, python-mania overtakes the &#8216;glades as an eclectic group of amateur hunters contends with unforgiving terrain, aggressive nocturnal creatures, and their own desires and demons that push them into the swamp, searching for slithering glory. Perfectly paced with a soundtrack, characters, and cinematography that make it feel like the lost piece of Harmony Korine&#8217;s *Florida Trilogy*, this remarkable feature is definitely ssssstranger than fiction! Don&#8217;t miss your chance to join the hunt!

&#8220;*Outrageously entertaining and* i*rresistible cocktail of vigilantism, competition and nature conservation.&#8221; *—MOVEABLE FEST

“*A wild [&#8230;] journey into the swamp of the American soul.*” —THE HOLLYWOOD REPORTER

The Python Hunt

Reservoir Dogs/ Johnny Handsome

The Peanut Butter Solution

Total Recall

The Boy and the Heron

The Deep in 35mm

Madadayo (No, Not Yet!) in 35mm

### **ABOUT THE FILM:**

1940. Alone at his fantastic estate known as Xanadu, 70-year-old Charles Foster Kane dies, uttering only the single word Rosebud. So ends the odyssey of a life … and begins a fabulous tale of the rise to wealth and power–and ultimate fall–of a complex man: A boy abandoned by his parents inherits a fortune, builds a global newspaper empire and aspires to become President of the United States, but he loses everything over an affair with an untalented nightclub singer. This fascinating story unfolds through the eyes of the people important to the tycoon–each showing a different aspect of Citizen Kane. 

FORMAT: DCP

DISTRIBUTOR: Warner Bros.

COUNTRY: USA

CITIZEN KANE

TERMINATOR 2: JUDGMENT DAY 3D

In the early 1900s, Miranda attends a girls boarding school in Australia. One Valentine&#8217;s Day, the school&#8217;s typically strict headmistress treats the girls to a picnic field trip to an unusual but scenic volcanic formation called Hanging Rock. Despite rules against it, Miranda and several other girls venture off. It&#8217;s not until the end of the day that the faculty realizes the girls and one of the teachers have disappeared mysteriously.

Picnic at Hanging Rock

After an encounter with UFOs, an electricity linesman feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.

Close Encounters of the Third Kind

*World Premiere of New Restoration*

Riffing off Fleischer Studios’ successful feature-length animation *Superman* (1941), Terrytoons Studio debuted the first film in the *Mighty Mouse* series, *The Mouse of Tomorrow*, the following year. While Terrytoons was known as the “budget” studio or the “Woolworths” of animation, Mighty Mouse lifted the studio into Oscar-nominated status. The animation earned a “swell” from the *Showmen’s Trade Review* upon debut. While many saw Mighty Mouse’s first flick on black-and-white, 8mm home reels from Castle Films or on CBS television reruns, the Festival presents a restoration of the beautiful color original.—*Jackie Forsyte*

DCP. **Production:** Terrytoons. **Distribution:** 20th Century Fox. **Producer:** Paul Terry. **Director:** Eddie Donnelly. **Writer:** John Foster. 

*Restoration funding provided by ASIFA-Hollywood. Restored by the UCLA Film & Television Archive from 35mm nitrate successive exposure positive and nitrate print. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics, Simon Daniel Sound. Special thanks to Paramount Pictures Archive.*

*World Premiere of New Restoration*

Although a pioneer in the animation field, here Dave Fleischer played the role of the smaller “copycat” to MGM’s Hanna-Barbera team, creators of another cat-and-mouse duo first seen in *Puss Gets the Boots *(1940). *Copy Cat* was distributed by Paramount Pictures in the *Animated Antics* series, just a year before Paramount bought Fleischer Studios.

On display is Fleischer’s characteristic rotoscoping technique, patented by Max Fleischer in 1915. The lively technique of painting over motion pictures, frame by frame, creates smooth and compelling movements. When the patent expired in 1934, competitor animation studios, including Disney, adopted the process.—*Jackie Forsyte*

**Production:** Fleischer Studios. **Distribution:** Paramount Pictures. **Director:** Dave Fleischer. **Animation:** Myron Waldman, Willian Henning. **Writer:** Bob Wickersham.

*Restoration funding provided by ASIFA-Hollywood. Restored by the UCLA Film & Television Archive from 35mm nitrate original picture negative and 35mm safety prints. Laboratory services by the PHI Stoa Film Lab, Roundabout Entertainment, Inc., Audio Mechanics, Simon Daniel Sound. Special thanks to Paramount Pictures Archive.*

*West Coast Premiere of New Restoration*

Who do you call when you want to liberate Sicily? Who else but Casanova? Spanish-English-language cross-market leading man Arturo de Córdova and Lucille Bremer of *Meet Me in St. Louis* (1944) star in this swashbuckling B-movie that has extraordinarily little to do with the real-life Giacomo Casanova. Summoned by a band of insurgents to lead a Sicilian rebellion against the Austrian Empire, Casanova seduces, swordfights and twists romantic complications into revolutionary intrigue. You can expect plenty of adventure, high romance, some light cross-dressing, production design that rivals major Hollywood studios, and George Tobias’ unmistakable thick Brooklyn accent.

From a historical perspective, *Adventures of Casanova* is more than the sum of its rather shlocky parts. The film represents a major step in collaboration between the Mexican and American film industries at the height of their respective power and prestige, a level of partnership possibly unmatched until the Nuevo Cine Mexicano movement of the 1990s and 2000s. *Adventures of Casanova* was also among the first films to make use of Mexico City’s Estudios Churubusco, one of the last legacy Mexican production studios still operating today. Although critics at the time cited budget outlay as the motivation behind the partnership, *Adventures of Casanova* does stand in contrast to the Mexploitation usually served up to the Anglo-American audiences of the period. Roberto Gavaldón, an icon of Mexican cinema, was perhaps the first Mexican director hired to lead an American crew outside the United States. Gavaldón would go on to make one more English-language feature, *The Littlest Outlaw* (1955), before returning fully to Mexican cinema. His film *Macario*, another work shot at Estudios Churubusco, would compete at Cannes in 1960 alongside *La Dolce Vita* and earn a nomination for Best Foreign Language Film at that year's Academy Awards.*—Noah Brockman*

DCP. **Production:** Bryan Foy Productions. **Distribution:** Eagle-Lion Films. **Producers:** Bryan Foy, Leonard S. Picker. **Director:** Roberto Gavaldón. **Screenwriters:** Crane Wilbur, Walter Bullock, Karen DeWolf. **Cinematographer: **Jack Greenhalgh. **With:** Arturo de Córdova, Lucille Bremer, Turhan Bey, John Sutton, George Tobias.

*Restoration funding provided by the Hobson/Lucas Family Foundation. Restored by the UCLA Film & Television Archive and The Film Foundation from the 35mm nitrate original picture negative, nitrate fine grain, nitrate track negative and 16mm print. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics, Simon Daniel Sound, FotoKem. Special thanks to Harvard Film Archive, Cinedigm.*

Adventures of Casanova + animation

Live musical accompaniment by Cliff Retallick.

*World Premiere of New Restoration*

French-born director Maurice Tourneur’s adaptation of R. D. Blackmore’s 19th-century novel *Lorna Doone* offered audiences a romantic drama of love and revenge set amid the picturesque landscapes of Exmoor in southwest England. Influenced by his background in painting and illustration, Tourneur approached filmmaking with a pronounced sensitivity for pictorial design, treating the frame as a carefully organized visual field that could convey mood and meaning. After moving to the United States in 1914, he firmly established his reputation through works such as *The Wishing Ring* (1914), *The Poor Little Rich Girl* (1917), *The Blue Bird *(1918) and *The Last of the Mohicans* (1920), all admired for their visual sophistication and cinematic storytelling.

*Lorna Doone* is supported by a cast aligned with Tourneur’s preference for naturalistic, non-theatrical performances. Madge Bellamy’s spirited portrayal of Lorna proved to be one of the defining roles of her career and showcased her distinctive, luminous presence, earning her the nickname “the exquisite Madge.” She would later star in the John Ford epic *The Iron Horse *(1924) and the cult-classic *White Zombie* (1932), the latter of which has been restored by UCLA. John Bowers, one of the top leading men in early 1920s Hollywood, imbues the hero John Ridd with a quiet physicality and sincerity. Anchoring the drama are strong supporting turns by Frank Keenan as the fallen-nobleman-turned-outlaw Sir Ensor Doone, and Donald MacDonald as the brutal Carver Doone, whose menacing physique and explosive intensity lend weight to the film’s central conflict.

While much of the production was shot at the Thomas H. Ince Studio in Culver City (reportedly with four cameras, instead of the customary two), Tourneur supplemented the studio-bound sets with outdoor location photography to heighten the film’s sense of authenticity. A critical success when released, *Lorna Doone* remains one of the most visually and dramatically accomplished American silent films of the early 1920s.*—Steven K. Hill*. 

DCP. **Production:** Thomas H. Ince Corp. **Distribution:** Associated First National Pictures. **Producer/Director:** Maurice Tourneur. **Screenwriters:** Katherine Reed, Cecil G. Mumford, Wyndham Gittens. Based on the novel by R. D. Blackmore. **Cinematographer:** Henry Sharp. **With:** Madge Bellamy, John Bowers, Frank Keenan, Donald MacDonald, May Giracci.

*Restoration funding provided by the Hobson/Lucas Family Foundation. Restored by the UCLA Film & Television Archive and The Film Foundation from a 35mm dupe picture negative, 35mm nitrate fine grain sections and 16mm prints. Laboratory services by Roundabout Entertainment, Inc., FotoKem. Special thanks to Academy Film Archive, Kevin Brownlow, Dan Bursik, Jere Guldin, National Film Preservation Foundation.*

Lorna Doone

*West Coast Premiere of New Restoration*

Shot on 16mm by an all-women crew, *the heart of the matter* is a tender portrait of AIDS activist Janice Jirau and a landmark in feminist documentary history. The film traces Jirau’s transformation from devoted wife to fearless public health advocate after she contracts HIV from a husband who refused to practice safer sex, a story told with devastating clarity. Her journey is braided with a Greek chorus of HIV-positive women from diverse backgrounds whose testimonies dismantle the comforting myth that only “certain kinds” of women are at risk. In a pivotal scene, Jirau delivers a poignant account of surviving abuse from the pulpit of a Black church, and directors Gini Reticker and Amber Hollibaugh linger on the congregation’s embrace — an image that cuts through the stigma and stereotypes that defined the era.

Completed at the edge of feature length, the production itself was a political struggle, shaped by a protracted fundraising battle in a culture that routinely devalued women’s stories, and people with AIDS. That tension gives the film its palpable urgency. It is direct and unafraid to ask viewers to reflect on their own relationship to HIV transmission risk, a conversation the filmmakers also carried into public screenings.

The collaboration brought together a remarkable team, including cinematographers Ellen Kuras and Maryse Alberti early in their careers, whose camera work gives the film both tenderness and resolve. Premiering at Sundance, where it won the Freedom of Expression Award, and later broadcast on PBS in 1994, *the heart of the matter* ultimately helped change policy through a grassroots impact campaign — and became a model for activist filmmaking for generations to come.*—Beandrea July*

DCP. **Directors:** Gini Reticker, Amber Hollibaugh. **Producers:** Gini Reticker, Amber Hollibaugh. **Cinematographers:** Ellen Kuras, Maryse Alberti. **Editor:** Ann Collins. **With: **Janice Jirau.

*Restoration funding provided by Women’s Film Preservation Fund of New York Women in Film & Television and the UCLA Film & Television Archive. Restored by Women’s Film Preservation Fund of New York Women in Film & Television and the UCLA Film & Television Archive from 16mm A/B original negative rolls, D2 and U-Matic tapes. Laboratory services by Colorlab, Endpoint Audio Labs. Special thanks to Gini Reticker, Kirsten Larvick.*

the heart of the matter

*West Coast Premiere of New Restoration*

*Way Back When a Triangle Had Its Points* was the first of 12 in Fleischer Studios’ *Stone Age* cartoons. It features a fabulous Betty Boop-style, Stone Age working girl on the hunt for a typist job. Paramount Pictures announced the series in the *Miami News* in June 1939, saying, “it will be based on the absurdity of modern life and modern inventions.” A rock-solid attempt, it wasn’t quite the smash the studio was looking for. However, Dan Gordon, one of the Fleischer animators on the project, later joined Hanna-Barbera and was a key creator of *The Flintstones*.—*Jackie Forsyte*

DCP.** Production:** Fleischer Studios. **Distribution:** Paramount Pictures. **Director:** Dave Fleischer. **Animation:** David Tendlar, Thomas Golden.** Writer:** William Turner.

*Restoration funding provided by ASIFA-Hollywood. Restored by the UCLA Film & Television Archive from 35mm nitrate original picture and track negatives. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics. Special thanks to Paramount Pictures Archive.*

*World Premiere of New Restoration*

Just a year earlier, the 1938 radio broadcast of H. G. Wells’ *The War of the Worlds* stunned the public, convincing many that Martians were invading Earth. Terrytoons’ *The Nutty Network* cleverly spoofs the radio play, transforming public anxiety into slapstick comedy. The short exemplifies animation’s ability to respond quickly to contemporary culture with a playful critique of mass communication at a time when radio dominated American media. Although Terrytoons adopted Technicolor later than other studios, this short’s vibrant use of color showcases the expressive power of the technology, even in humorous satire.—*Jackie Forsyte*

DCP.** Production:** Terrytoons. **Distribution:** 20th Century Fox. **Producer: **Paul Terry. **Director:** Mannie Davis. **Writer:** John Foster. 

*Restoration funding provided by ASIFA-Hollywood. Restored by the UCLA Film & Television Archive from 35mm nitrate successive exposure positive, acetate track negative and track positive. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics. Special thanks to Paramount Pictures Archive.*

*World Premiere of New Restoration*

Debuting near the end of the screwball comedy trend, *Merrily We Live* is one of the zaniest. When novelist and ladies’ man Wade Rawlins’ (Brian Aherne) car breaks down he seeks help at a mansion inhabited by a family of eccentrics. Mistaken for a tramp by the well-meaning matron of the house, Mrs. Kilbourne (Billie Burke), Rawlins finds himself hired as the family chauffeur. His protests fall on deaf ears, and the handsome young man soon becomes embroiled in romantic encounters and family crises. Throw in a large white rabbit, reproducing goldfish, a raucous parrot and two rambunctious Great Danes, and you have another hit from Hal Roach Studios, “Laugh Factory to the World.”

Based on the 1924 novel *The Dark Chapter: A Comedy of Class Distinctions* and often compared to *My Man Godfrey *(1936), this spoof of social conventions never takes itself seriously; as one reviewer wrote, “Insanity runs rampant!” Roach, director Norman Z. McLeod and cast members Burke, Constance Bennett and Alan Mowbray from the hit *Topper* (1937) team up once again and, as a poster proclaimed, *Merrily We Live* “tops *Topper* by a hundred howls!” Best known for short comedies starring Laurel and Hardy and the Our Gang kids, Hal Roach Studios earned accolades when this film was nominated for five Academy Awards, including Best Actress in a Supporting Role for Burke, Best Cinematography, Best Art Direction, Best Music, Original Song, and won for Best Sound Recording. Roach would further prove his prowess the next year, receiving critical acclaim for *Of Mice and Men* (1939). Cinematographer Norbert Brodine and art director Charles Hall give the film a stunning look with depth of focus, shades of gray and an overall visual style not often seen in a comedic production.

And we’d all like to know how many takes were needed to film the opening ensemble song!*—Miki Shannon*

DCP. **Production:** Hal Roach Studios. **Distribution:** MGM. **Producer:** Milton H. Bren. **Director:** Norman Z. McLeod. **Screenwriters:** Eddie Moran, Jack Jevne, E. J. Roth. **Cinematographer:** Norbert Brodine. **With:** Constance Bennett, Brian Aherne, Alan Mowbray, Billie Burke, Patsy Kelly.

*Restoration funding provided by the Century Arts Foundation. Restored by the UCLA Film & Television Archive in collaboration with Academy Film Archive from the 35mm nitrate original picture and track negatives, nitrate composite fine grain, nitrate track positive and nitrate composite print. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics, Simon Daniel Sound.*

Merrily We Live + animation

*World Theatrical Premiere of New Restoration*

Trained as a matador in Mexico, director Budd Boetticher frequently returned to the topic of bullfighting in his films, from his start in Hollywood as a technical advisor on Rouben Mamoulian’s *Blood and Sand* (1941) to his first major film, *The Bullfighter and the Lady *(1951). Unsatisfied with the final editing of that film, Boetticher revisited his toreador past with *The Magnificent Matador*. In Boetticher’s words, “the story … isn’t just bulls. It’s really a love drama about a man on top who falters through fear, and an American woman who restores his faith in himself.” Mexican-born star Anthony Quinn was a natural to play “El Numero Uno,” having prior experience portraying matadors in *Blood and Sand* and *The Brave Bulls *(1951). Maureen O’Hara plays opposite him as his wealthy pursuer who becomes a possible means to his redemption.

Acclaimed cinematographer Lucien Ballard (*The Wild Bunch*, 1969) brought his well-trained eye to the striking vistas and big action in the ring. Filming entirely on location, Ballard utilized the large CinemaScope format in its full width to capture Mexico’s countryside, bustling Mexico City and its giant arena in vibrant Eastmancolor. Legends of Mexican bullfighting are featured in the corrida, including Jesús “Chucho” Solórzano, Antonio Velásquez and Jorge “El Ranchero” Aguilar. Action sequences were staged to avoid any gore (to man or bull) to satisfy the Production Code, with ballet-like choreography and masterful passes that *Variety* called “some of the best bullfight scenes yet captured on film.” Prominent matador Carlos Arruza offered technical advice as well as the shooting location of Pastejé, his bull-breeding ranch. Boetticher would later direct the documentary* Arruza *(1971), narrated by Quinn, chronicling the matador’s life and tragic death.*—Jillian Borders*

DCP.** Production:** National Pictures Corporation. **Distribution:** 20th Century-Fox. **Producer:** Edward L. Alperson. **Director:** Budd Boetticher. **Screenwriter:** Charles Lang. Based on a story by Budd Boetticher. **Cinematographer: **Lucien Ballard. **With:** Maureen O’Hara, Anthony Quinn, Manuel Rojas, Richard Denning.

*Restoration funding provided by the Hobson/Lucas Family Foundation. Restored by the UCLA Film & Television Archive and The Film Foundation from the 35mm color separation master positives and a 35mm Cinemascope print. Laboratory services by Roundabout Entertainment, Inc., FotoKem, Audio Mechanics, DJ Audio, Inc. Special thanks to George Eastman Museum, Ignite Films.*

The Magnificent Matador

A complex father-son relationship is at the center of this Argentine film noir directed by Carlos Hugo Christensen. Originally meant to be included in a noir trilogy with *No abras nunca esa puerta* (*Never Open That Door*, 1952), previously restored by UCLA, the Grimm’s fairy-tale-like* Si muero antes de despertar* was instead released as a stand-alone feature. In this suspenseful adaptation of a Cornell Woolrich short story, the disappearance of several young girls, presumed to be victims of a sexual maniac, has the local population on edge. Police inspector Santana (Floren Delbene, a popular leading man in Argentina through the 1950s) is stymied by a lack of clues, while his wife (Blanca del Prado) simply says, “Those monsters ... They should leave them to us mothers.” Unknown to either parent, their obstreperous son, Lucho (Néstor Zavarce, who for an earlier Christensen film had earned the title of a “Child Prodigy of Venezuelan Cinema”), has vowed to keep a secret that might be of vital importance. Plagued by guilt, Lucho suffers through a feverish nightmare, courtesy of production designer Gori Muñoz, as surreal as the one concocted by Salvador Dalí in Hitchcock’s *Spellbound *(1945). The climax of the film, eerily lit by cinematographer Pablo Tabernero (a German émigré), with aspects too strong for North American censors, is nothing short of terrifying and was likely responsible for many sleepless Argentine nights.

Archivist Fernando Martin Peña, responsible for finding the original complete version of *Metropolis* (1927), has championed Argentine films for decades. In 1969, a large fire destroyed most of the country’s nitrate negatives, and it is hoped that a cinematheque can be built to house their remaining treasures. We have Peña, our collaborators at the Film Noir Foundation and Eddie Muller to thank for this restoration made from scant surviving materials nearly lost to decomposition.*—Miki Shannon*

DCP. **Production: **San Miguel Studios. **Distribution:** San Miguel Studios. **Director:** Carlos Hugo Christensen. **Writer:** Alejandro Casona. Adapted from a short story by Cornell Woolrich. **Cinematographer:** Pablo Tabernero. **With:** Néstor Zavarce, Blanca del Prado, Floren Delbene, Homero Cárpena.

*Restoration funding provided by the Film Noir Foundation and Eddie Muller. Restored by the UCLA Film & Television Archive from a 35mm acetate composite print. Laboratory services by Roundabout Entertainment, Inc, Audio Mechanics, Simon Daniel Sound. Special thanks to Argentina Sono Film, Luis Scalella; Malba Museo de Arte Latinoamericano de Buenos Aires; Fernando Martin Peña.***
**

***Special thanks to our community partner: [Latin American Cinemateca of Los Angeles](https://www.lacla.org/)**
*

Si muero antes de despertar (If I Should Die Before I Wake)

*World Premiere of New Preservations*

In his piece *Destructivism: A Manifesto* (1962), artist and filmmaker Raphael Montañez Ortiz states: “The art that utilizes the destructive processes will purge, for as it gives death, so it will give to life.” A key figure in the Destruction in Art movement of the 1960s, Ortiz is best known for his object-based work and performance art, most notably his piano destruction concerts. However, his expansive oeuvre of time-based media art also merits revisiting. Ortiz experimented with film starting in the late 1950s, creating found-footage films that deconstruct/reconstruct conventional Hollywood, newsreel and instructional films as a means of combating the xenophobia, classism and repression manifested within them.

Decades later, Ortiz revisited this practice of partition and random reassembly; 1984 to 1997 was a fruitful period resulting in over 50 works Ortiz termed “computer-laser-videos.” The rise of consumer video formats and new technologies brought renewed opportunities for deconstruction — this time, in a realm that merged analog and digital. These videos were made by using films on laserdiscs (mainly titles from the 1930s to 1940s), selecting segments ranging from one to 10 seconds, editing and distorting clips via computer, and using joysticks to move footage back and forth at various speeds. Once it was finalized, Ortiz would transfer the footage to 3/4 in. videotape. This practice resulted in a new visual landscape of disjointed movement that was further heightened by the use of a wave-form generator to alter sound, creating a cacophony of words, music and disembodied noises. In expanding the length of these clips, Ortiz dissects and scrutinizes the whiteness, hegemony and gendered behaviors presented on-screen, reconstructing them as satire, performativity and artifice.

These four selected works are Ortiz’s final computer-laser-videos, marking a significant point in his career as an interdisciplinary artist and pioneer of the Destructivism movement.*—Yesenia Perez***
**

***Special thanks to our community partner: [Los Angeles Filmforum](https://www.lafilmforum.org/)**
*

DCP.** Director:** Raphael Montañez Ortiz. **Source:** *Dollar *(1938), directed by Gustaf Molander.

*Preservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz, Chon Noriega.*

DCP. **Director:** Raphael Montañez Ortiz. **Sources:** unidentified Italian film, undated footage from the Olympics.

*Preservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz, Chon Noriega.*

DCP. **Director:** Raphael Montañez Ortiz. **Sources:** *A Night at the Opera* (1935), directed by Sam Wood; *Gone With the Wind* (1939), directed by Victor Fleming.

*Preservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam SP master. Laboratory services by The MediaPreserve. Special thanks to Raphael Montañez Ortiz, Chon Noriega.*

DCP. **Director:** Raphael Montañez Ortiz. **Sources:** unidentified exercise video, c. 1930s; *The Bride of Frankenstein *(1935), directed by James Whale; unidentified footage of a volcano eruption.

*Preservation funding provided by the Andrew W. Mellon Foundation. Digitally preserved by the UCLA Film & Television Archive and UCLA Chicano Studies Research Center from the director’s Betacam SP master. Laboratory services by the UCLA Film & Television Archive. Special thanks to Raphael Montañez Ortiz, Chon Noriega.*

The Computer-Laser-Videos of Raphael Montañez Ortiz

### **ABOUT THE FILM:**

*In Japanese with English subtitles.*

With delicate, unobtrusive strokes, Naruse evokes both the humor and bitterness of his characters’ dilemmas, in this bleak, compelling poignant portrait of a quartet of aging geishas contemplating their troubles with men and money.

FORMAT: 35mm

DISTRIBUTOR: Janus Films

COUNTRY: Japan

35mm print courtesy of The Japan Foundation, Los Angeles Series co-presented by The Japan Foundation, Los Angeles and The Yanai Initiative for Globalizing Japanese Humanities ‘Mikio Naruse: An American Cinematheque Retrospective’

LATE CHRYSANTHEMUMS

### **ABOUT THE FILM:**

*In French with English subtitles.*

It’s the story of a mother, who after the death of her husband, comes to live with her daughter with the piano, baggage and furniture in tow. It soon becomes a nightmare of clutter. The daughter can’t manage to write her erotic story despite the judicious advice of her mother who knows quite a bit while her daughter still has everything to learn. Thus they have to sell up and move. And that’s when the round of visitors begins. And the tale takes a twist.

FORMAT: DCP

DISTRIBUTOR: Le Bureau Films

COUNTRY: France/Belgium

‘Chantal Akerman: An American Cinematheque Retrospective’

TOMORROW WE MOVE

### **ABOUT THE FILM:**

A story of two childhood friends from New York who become wealthy and powerful gangsters during the 1920’s. Neither can satisfy his deepest dreams and hungers, and they separate in an explosion of violence which won’t come to light for 35 years. Starring Robert De Niro, James Woods, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld and Treat Williams.

FORMAT: DCP

DISTRIBUTOR: Disney

COUNTRY: Italy/USA

ONCE UPON A TIME IN AMERICA: DIRECTOR'S CUT

Cinderella

Princess Mononoke

Author Gary D. Rhodes in-person to celebrate his compendium of weird 70s/80s fact-or-fiction docs + a screening of EXP TV's classic collage!

WEIRDUMENTARY Celebration + EXP TV's BIZARRE ENCOUNTERS... Screening!

A screening of the legendary cryptid cult classic followed by a conversation about the film's legacy and Bigfoot lore and sightings!

THE LEGEND OF BOGGY CREEK (1972) + Conversation w/ Matt Yoka & Guests!

**Screenwriters**: Roald Dahl, David Seltzer

**Producers**: Stan Margulies, David L. Wolper

Grab your golden ticket for the sweetest of adventures in the candy-coated classic *Willy Wonka and the Chocolate Factory*. When poverty-stricken Charlie Bucket scores a much-coveted ticket to tour a world-famous chocolate factory helmed by the eccentric inventor and candyman Willy Wonka, he&#8217;s got no idea what kind of a madhouse he&#8217;s in store for. Gene Wilder&#8217;s perfectly-pitched and unhinged performance helms this colorfully demented madcap musical full of oompa-loompas, golden geese, chocolate lakes, and snozzberries.

**Picks from the Video Store**

Take home more Roald Dahl classics tonight!

*Matilda, The BFG, Fantastic Mr. Fox, James and the Giant Peach*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

Willy Wonka & the Chocolate Factory

**Screenwriters**: Gladys Unger,  Garnett Weston

**Producers**: Harold Hurley, Edward T. Lowe Jr.

The incredible Anna May Wong stars in this short and satisfying San Francisco revenge thriller! A Chinese-American woman tries to avenge her father and expose an illegal alien smuggling ring. Genuinely suspenseful with an incredible performance from Wong and an excellent supporting cast that includes Buster Crabbe, Charles Bickford, and even Anthony Quinn in one of his earliest screen roles, Daughter of Shanghai truly shines as a multi-layered and sympathetic portrait of the Asian-American experience (albeit through the lens of genre) at a time when yellow face was the norm.

**Picks from the Video Store**

Take home more Anna May Wong classics tonight on Blu-Ray and DVD!

*Shanghai Express, Piccadilly, Island of Lost Men*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

Daughter of Shanghai

**Screenwriters**: Jim Abrahams,  David Zucker,  Jerry Zucker

**Producers**: Jon Davison,  Howard W. Koch

*Don&#8217;t call me Shirley!* Vidiots is now boarding for one of the funniest movies of all time, and we saved you a seat in the aisle. Your abs may not be able to handle the rapid fire gut-busters of this high-flying comedy classic, but if your brain could use an hour-and-a-half shot of endorphins, you won&#8217;t want to miss take-off! When the flight crew of a passenger airliner all gets food poisoning, its up to an ex-fighter pilot and a stewardess to make sure the plane lands safely. A veritable laugh riot with wall-to-wall dad jokes and legendary bits from Leslie Nielsen and Lloyd Bridges (*I picked the wrong week to quit smoking*), this banger has kept countless people laughing for over 45 years.

**Picks from the Video Store**

Want to fall down a Julie Hagerty rabbithole? Try out these rare gems!

*Beyond Therapy, Storytelling, A Master Builder*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

Airplane!

**Screenwriters**: Sheldon Lettich,  Christopher Cosby,  Mel Friedman

**Producers**: Mark DiSalle,  Yoram Globus,  Menahem Golan

The Muscles from Brussels is finally headed to the Vidiots big screen and we can&#8217;t wait to sit front row at the brawl to end it all! Ninjitsu master Frank Dux journeys to Hong Kong to enter the Kumite, the Olympics of martial arts, and meets a beautiful American reporter. Before long he must face Chong-Li, a vicious Korean master of Tae Kwan Do, in a climactic fight to the finish. Don&#8217;t miss your chance to watch Van Damme kick all the ass with a crowd of Vidiots cheering at every sick move!

**Picks from the Video Store**

Hungry for more JCVD? He&#8217;s got his own section on our Action Stars shelves! Take home more kick-ass tonight!

*Timecop, Universal Soldier, Hard Target*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

Bloodsport

Cutthroat Island

The 'Burbs

Los Angeles Filmforum, the Harry Smith Archive, and The Philosophical Research Society's 7th House Screenings present *Filmforum 50, program 12: Harry Smith’s Film #18: Mahagonny*.

Closing event of *The Cosmic Collage of Harry Smith*.

∆

Experimental filmmaker, anthropologist, painter, and musicologist Harry Smith’s final film was an epic four-screen projection titled *Mahagonny*. Smith worked on this cinematic transformation of Kurt Weill and Bertolt Brecht’s opera *Rise and Fall of the City of Mahagonny* for over ten years and considered it his magnum opus. His friends have said that Smith was obsessed with the opera, playing it over and over in his room at the Chelsea Hotel. The film was shot from 1970 to 1972 and edited for the next eight years. The “program” of the film is meticulous, with a complex structure and order. The Weill opera is transformed into a numerological and symbolic system. Images in the film are divided into categories— portraits, animation, symbols and nature— to form the palindrome P.A.S.A.N.A.S.A.P.

Mahagonny is an allegory of contemporary life; it explores the needs and desires of man amid the rituals of daily life in New York City. Smith’s New York, like *Mahagonny*, is a place where everything is permitted and the only sin is not having enough money. Much of the film takes place within the Chelsea Hotel. The film contains invaluable cameos of important avant-garde figures such as Allen Ginsberg, Patti Smith, and Jonas Mekas, intercut with installation pieces from Robert Mapplethorpe’s studio, New York City landmarks of the era, and Smith’s visionary animation.

Complete program notes at: https://www.lafilmforum.org/schedule/

Filmforum 50 – Harry Smith’s Film #18: Mahagonny

One Battle After Another in 70mm

Gentlemen Prefer Blondes

### **ABOUT THE EVENT:**

Ahead of this year’s ‘Bleak Week,’ the American Cinematheque presents a special screening of SÁTÁNTANGÓ, Béla Tarr’s monumental seven-hour masterpiece, widely considered one of the greatest films ever made.

We were honored to welcome Béla Tarr for the second year of ‘Bleak Week,’ and are proud to honor his legacy with a return to one of the defining works of his extraordinary career ahead of this year’s festival.

### **ABOUT THE FILM:**

*In Hungarian with English subtitles.*

One of the greatest achievements in art house cinema and a seminal work of “slow cinema,” SÁTÁNTANGÓ, based on the book by László Krasznahorkai, follows members of a defunct agricultural collective living in a seemingly post-apocalyptic landscape in the long shadow of Communism who, on the heels of a large financial windfall, set out to leave their village. As a few of the villagers secretly conspire to take off with all of the earnings for themselves, a mysterious messianic character, long thought dead, returns to the village, altering the course of everyone’s lives forever.

FORMAT: DCP

DISTRIBUTOR: Arbelos Films

COUNTRY: Hungary/Germany/Switzerland

In honor of Béla Tarr 25th Anniversary of 4K Restoration ‘Bleak Week: Cinema of Despair – Year 5’ Pre-Festival Screening

SÁTÁNTANGÓ

Edie Bouvier Beale and her mother, Edith, two aging, eccentric relatives of Jackie Kennedy Onassis, are the sole inhabitants of a Long Island estate. The women reveal themselves to be misfits with outsized, engaging personalities. Much of the conversation is centered on their pasts, as mother and daughter now rarely leave home.

Grey Gardens

Merging elements from DRACULA’S DAUGHTER (1936) with André Breton’s surrealist novel NADJA (1928), and fusing shimmering black-and-white 35mm with hallucinatory Pixelvision video, Michael Almereyda’s (TESLA, EXPERIMENTER, HAMLET) acclaimed cult film centers on New York-based vampire Nadja (Elina Löwensohn) as she draws close to her twin brother Edgar (Jared Harris) following their father’s death at the hands of Dr. Van Helsing (Peter Fonda). Edgar’s private nurse (Suzy Amis), Van Helsing’s nephew Jim (Martin Donovan), and= Jim&#8217;s wife (Galaxy Craze) are entangled in the story as the vampire killer pursues “the fiend” from Manhattan to Transylvania. Executive produced by David Lynch.

Nadja

*La Llorona* (2019), directed Guatemala filmmaker Jayro Bustamante, is a fictionalized take on the the country’s genocide trials in which former dictator Efraín Ríos Montt was found guilty of human rights violations and crimes against humanity. Playing with the horror film genre and the trope of the legend of La Llorona, Bustamante paints a compelling picture of how collective Indigenous memory still haunts not just the dictator, but his family and society, in the collective search for justice. The film stars María Mercedes Coroy and María Telón, two of Guatemala’s best-known contemporary actors of Maya Kaqchikel descent. 

This screening will be followed by a 20-minute pre-recorded interview with actress Coroy conducted by William Ramirez, public program coordinator at the Getty Research Institute. It will be followed by a presentation by Alicia Ivonne Estrada, professor of Chicana/o Studies at California State University, Northridge, whose work centers Central American history, Maya cultural productions, literature, and radio. This event is part of the Research Institute’s [Latinx and Latin American Art Initiative][1], which currently focuses on Central America and its diasporas. 

DIRECTED BY: Jayro Bustamente. PRODUCED BY: Jayro Bustamente. WRITTEN BY: Jayro Bustamente & Lisandro Sanchez. 97 minutes, 2019. Spanish and Maya with English subtitles.

This program is part of the [Art on Screen][2] series, which celebrates moving-image media and its intersection with art and art histories.

The conversation will be available on the [Getty Research Institute YouTube channel][3] following the event.

Visit the Getty Research Institute's [Exhibitions and Events page][4] for more free programs.


  [1]: https://www.getty.edu/projects/latin-american-latinx-art-initiative/
  [2]: https://www.getty.edu/whats-on/art-on-screen/
  [3]: https://www.youtube.com/c/gettyresearch
  [4]: https://www.getty.edu/research/exhibitions_events/

Screening: *La Llorona*

Live musical accompaniment by Cliff Retallick.

*World Premiere of New Restoration*

Alice Linton and poet Percy Primrose (Carlyle Blackwell) are in love, against her father’s (John Bunny) wishes. When Alice falls ill with grief over the forbidden relationship, Percy disguises himself as “Doctor Cupid” to trick Alice’s father into approving the marriage. Celebrated stage actor and comedian John Bunny starred in over 150 short films for the Vitagraph Company, often paired with Flora Finch in a series of “Bunnyfinch” comedies, from 1910 to his untimely death in 1915. Despite Bunny’s popularity, only a portion of his work survives.—*Brian Belak*

**Production:** Vitagraph Company of America. **With:** John Bunny, Carlyle Blackwell.

*Preservation funding provided by Louis B. Mayer Foundation. Preserved by the UCLA Film & Television Archive from a 35mm tinted nitrate print. Laboratory services by the PHI Stoa Film Lab. Special thanks to the Irish Film Institute.*

Live musical accompaniment by Cliff Retallick.

*Los Angeles Premiere of New Restoration*

In the early decades of American cinema, few figures loomed as large, or rode as boldly across the silver screen, as Tom Mix. As an actor, the former frontier lawman and Wild West show performer brought genuine horsemanship and the ability to do his own stunts to his film roles. He also cultivated an instantly recognizable identity punctuated by a white 10-gallon Stetson, ornate costumes and a confident grin, establishing a colorful vision of the American cowboy that captivated audiences throughout the 1920s. This persona reflected both the mythologizing of the Old West and the desires of a modern, urban audience seeking escapism in the aftermath of World War I.

Based on the Max Brand novel, the mystery-melodrama *Trailin’ *was helmed by Mix’s favorite director, Lynn Reynolds, and co-starred Eva Novak in one of her 10 feature film appearances opposite Mix. Novak was a popular actor in her own right, appearing in 48 films from 1921 to 1928, and reportedly learned to perform many of her own stunts from Mix himself. In order to play the wealthy young hero Anthony Woodbury, Mix shed his familiar flamboyant Western regalia in favor of the refined garments of an aristocrat-in-training. Dissatisfied with his privileged position in life, Anthony longs to discover the identity of his mother — a secret that his father refuses to reveal. When his father is killed in a mysterious duel, Anthony embarks on a quest for justice and self-discovery, confronting danger, intrigue and the charms of the spirited Sally Fortune (Novak).

As expected, the film performed well at the box office, and contemporary reviews were generally enthusiastic. *Wid’s Filmdom* hailed it as “a different Tom Mix and a different Mix picture,” while *Moving Picture World* declared, “Mix at his best. A splendid Western that has the thrills and plenty of action.”*—Steven K. Hill *

**Production**: Fox Film Corp. **Director:** Lynn F. Reynolds. **Screenwriter:** Lynn F. Reynolds. Based on the novel by Max Brand. **With:** Tom Mix, Eva Novak, J. Farrell MacDonald, Sid Jordan.

*Preservation funding provided by the National Film Preservation Foundation. Preserved by the UCLA Film & Television Archive from a 35mm nitrate print. Laboratory services by the PHI Stoa Film Lab.*

Trailin’

Lela Swift began her career in television during the early 1940s as an assistant to the chief television engineer at CBS, where she was at the forefront of an evolving broadcast industry. By 1945, she had moved into production as a writer and studio assistant floor manager, and in 1950, she was promoted to director. During a decades-long career, Swift directed a variety of genres, including early 1950s television anthologies such as CBS’ prestigious *Studio One*, ABC’s *Wide World of Mystery* and NBC’s *Purex Specials for Women,* and won three Emmy Awards for directing the daytime series *Ryan’s Hope*. Swift’s prolific creative output traces television’s history of innovation, imagination and changing audience taste.—*Maya Montañez Smukler*

*World Premiere of New Preservation*

With original commercials

As a pioneering staff director at CBS Television in New York, Lela Swift helmed episodes of the live anthology mystery *The Web* on alternating weeks, trading duties with series producer Herbert Hirschman. In this Swift-directed installment, a mysterious man (John Baragrey) seemingly returns from the dead to upend the lives of a domineering mother (Jessie Royce Landis) and her tormented daughter (Marian Russell). Punctuated by close-ups and a gently foreboding atmosphere, this early effort by Swift anticipates her later innovative work directing hundreds of episodes of the cult-classic gothic soap opera *Dark Shadows *(1966–71).*—Mark Quigley*

DCP. CBS. **Production:** A Mark Goodson-Bill Todman Production in association with the CBS Television Network. **Producer:** Herbert Hirschman. **Director:** Lela Swift. **Writer:** Art Wallace. **With:** Jessie Royce Landis, John Baragrey, Marian Russell.

*Preservation funding provided by the John H. Mitchell Television Preservation Endowment. Digitally preserved by the UCLA Film & Television Archive from a 16mm kinescope. Laboratory services by Endpoint Audio Labs. *

*World Premiere of New Preservation*

Produced live, this *Dragnet*-style series explored social justice cases adapted from the files of the Legal Aid Society of New York City. Lela Swift directs this tense installment starring Gary Merrill (*All About Eve*, 1950) as an earnest lawyer attempting to help an innocent family being unfairly persecuted following the murder conviction of their son. At a time when the Hollywood Blacklist dictated many hiring practices in the film and television industry, the episode, written by Anne Howard Bailey (*The Adams Chronicles*, 1976), boldly examines the immorality of “guilt by association” and prejudice.*—Mark Quigley*

DCP. NBC.** Production: **Talent Associates-John Rust Production. **Producer: **David Susskind. **Director:** Lela Swift. **Writer:** Anne Howard Bailey. **With:** Gary Merrill, Glenda Farrell, Frank McHugh.

*Preservation funding provided by the John H. Mitchell Television Preservation Endowment. Digitally preserved by the UCLA Film & Television Archive from a 16mm kinescope. Laboratory services by Endpoint Audio Labs.*

Lela Swift: Television Director

*World Premiere of New Restoration*

“They come in search of the American Dream, only to find they have become the unwanted,” begins this groundbreaking television documentary on the troubles faced by Latino immigrants in the United States. Amid calls for broader governmental reform of the immigration process, the film focuses on human roles in the everyday drama, casting immigrants’ plight as powerless political pawns in a game that exploits undocumented migrants’ labor while criminalizing them at the same time. As Pablo, Gabriel and Yolanda Lopez and the Garcia family seek to improve their livelihood in a new country, away from economic troubles at home, they face repeated profiling, raids and deportation by border patrol and immigration enforcement officers, creating a revolving door of frustration for all involved.

Producer-director José Luis Ruiz produced programs for KABC, KNBC and KCET throughout the 1970s, establishing a Latino presence in film and television, and was later executive director of the National Latino Communications Center (NLCC) and a founding board member of the National Association of Latino Arts and Culture (NALAC). Writer Frank del Olmo was the first Latino listed on the masthead of the *Los Angeles Times*, where he worked as a reporter for decades covering issues of illegal immigration and the Latino community, earning a Pulitzer Prize in 1984.

*The Unwanted* won an award for Current Affairs Special at the 1975 Los Angeles Area Emmy Awards after its primetime airing on KNBC Channel 4. Praised at the time by the *Los Angeles Times* for the choice to “minimize statistics, to humanize stereotypes,” the documentary and the discussion around who gets the privilege to be American is as relevant as ever 50 years later, as immigration policy remains hotly debated and deportations continue. This revolving door has yet to stop spinning.—*Brian Belak*

DCP. KNBC. **Producer:** José Luis Ruiz. **Director: **José Luis Ruiz. **Writer:** Frank del Olmo. **Cinematographer:** Larry Mitchell. **With:** Barry Newman.

*Restoration funding provided by the John H. Mitchell Television Preservation Endowment. Restored by the UCLA Film & Television Archive from multiple 16mm reversal prints, a 16mm work print and a 35/32mm track negative. Laboratory services by Prasad Corp. and Endpoint Audio Labs. Special thanks to José Luis Ruiz.*

The Unwanted

*World Premiere of New Restoration*

At an all-girls school in Switzerland, Christa Storm (Dorothy Wilson) is a star pupil and stroke seat on the rowing team, but her clandestine affair with young chemist David Perrin (Douglass Montgomery) from another college leads her into trouble when she discovers she’s pregnant. As Christa’s attention in school slips, she incurs the discipline of the team’s steely coach, Hannah (Kay Johnson), who removes her from the boat and threatens expulsion. Worse, Christa’s businessman father (Walter Connelly) objects to marriage between Christa and David over concerns that David’s studies doom him to a life of poverty. How will Christa and her coming baby keep an even keel through all this choppy water?

This pre-Code film was a remake of a 1932 German original (*Acht Mädels im Boot*) and billed as “America’s daring reply to *Mädchen in Uniform* (1931).” Paramount’s advertising played up the salacious suggestion of a female-only school where men are forbidden. Most of the cast members were selected through a nationwide beauty contest aimed at filling out the ensemble with new faces to Hollywood, including Jean Rogers of *Flash Gordon *(1936). Silent film star Peggy-Jean “Baby Peggy” Montgomery (also known as Diana Serra Cary), now a teenager, appears as one of the students.

Mostly filmed on location at Lake Arrowhead in the San Bernardino Mountains, *Eight Girls in a Boat* shines during its rowing scenes as sunlight dapples on the water. The *New York Times* praised director Richard Wallace’s “considerable delicacy and tact” around the illicit motherhood theme and Dorothy Wilson’s “genuinely and shyly touching” portrayal of “the girl’s loneliness, her sense of ostracism and shame.” Wilson, known for being cast as the lead in *The Age of Consent* (1932) while working as a secretary at RKO, eventually married *Eight Girls* screenwriter Lewis R. Foster and largely retired from film roles just a few years later.—*Brian Belak*

**Production:** Charles R. Rogers Productions, Inc. **Distribution:** Paramount Pictures. **Producer:** Charles R. Rogers. **Director:** Richard Wallace. **Screenwriters: **Helmut Brandis, Lewis R. Foster, Casey Robinson. **Cinematographer:** Gilbert Warrenton. **With:** Dorothy Wilson, Douglass Montgomery, Kay Johnson, Walter Connelly, Peggy-Jean “Baby Peggy” Montgomery.

*Restored by the UCLA Film & Television Archive and The Packard Humanities Institute from the 35mm original nitrate picture negative, acetate composite fine grain positive and nitrate print. Laboratory services by The PHI Stoa Film Lab, Audio Mechanics, Simon Daniel Sound. Special thanks to the Library of Congress, NBCUniversal, David Stenn.*

Eight Girls in a Boat

*World Premiere of New Restoration*

Described as “tight, swift and sexy” by the *Los Angeles Daily News*, Jay Dratler’s 1947 novel *The Pitfall* was a perfect vehicle for Hungarian émigré and hard-hitting genre director André de Toth. Despite jettisoning the novel’s more salacious moments due to Hays Code restrictions, screenwriter Karl Kamb and an uncredited William Bowers perfectly capture the trappings of infidelity, larceny and obsession, played out in sun-drenched post-war Southern California (as opposed to the rainy back alleys typical of the noir genre). The Regal Films production was shot at General Service Studios in Hollywood by longtime RKO cinematographer and frequent noir contributor Harry J. Wild. Iconic Los Angeles locations such as Santa Monica Bay, the downtown May Co. Building and the Hall of Justice were also utilized.

Former Warner Bros. song and dance man Dick Powell had already proven his noir chops as hard-boiled private detective Philip Marlowe in 1944’s *Murder, My Sweet*, and he is impeccably cast as bored, married insurance man John Forbes, whose life is about to spiral out of control after meeting the alluring Mona Stevens, played by Lizabeth Scott. Raymond Burr had mostly been relegated to bit parts in the nine films he completed in 1948; *Pitfall *provided a breakout co-starring role, as private investigator J. B. MacDonald, which he plays with subversively kinky malice. 

Aided by a script that flips the traditional femme fatale archetype, Scott’s luminous portrayal reveals a more textured and sympathetic victim of circumstance, given that her character is the target of three wildly different and problematic men. The *New York Times *heralded Scott as “provocative, and acting better than she has ever done before,” and the performance is now considered one of her greatest. Despite some of its atypical attributes, *Pitfall* is a deftly executed meditation on the degeneration of mid-century masculinity, and it stands as one of the great entries in the noir genre.—*Todd Wiener *

**Production:** Regal Films, Inc. **Distribution:** United Artists.** Producer:** Samuel Bischoff. **Director:** André de Toth. **Screenwriter:** Karl Kamb. Based on the novel by Jay Dratler. **Cinematographer:** Harry Wild. **With:** Dick Powell, Lizabeth Scott, Jane Wyatt, Raymond Burr.

*Restoration funding provided by the Century Arts Foundation. Restored by the UCLA Film & Television Archive from acetate dupe picture negatives and track negatives. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics.*

Pitfall

*World Premiere of New Restoration*

Based on an unpublished short story by Erich Maria Remarque, *The Other Love* explores the existential themes of love and death that recur throughout his novels, such as *Three Comrades* and *Arch of Triumph*. The plot concerns a concert pianist, Karen Duncan (Barbara Stanwyck), convalescing from tuberculosis in the Alps, who is tempted by a short, adventure-filled life as opposed to the sedate existence in the sanatorium that offers her a chance at a future. She must choose between two lovers: her doctor (David Niven) and an impetuous race car driver (Richard Conte). Director André de Toth, though better known for helming gutsy and tense low-budget Western and film noir projects than for high-fashion “woman’s pictures,” guides his stellar cast, as well as cinematographer Victor Milner and composer Miklós Rózsa, to deliver a moody and melodramatic gem.

An early feature from Enterprise Productions, *The Other Love* was released to significant fanfare with an equally large marketing pitch. The independent production company was founded as an alternative to the vertically integrated major studios, with the egalitarian hope that talent partnerships would yield larger profit participation for all involved. The rollout for *The Other Love* spared no expense, with months of advance print and radio advertising, extensive promotional tie-ins and a U.S. premiere aboard a DC-6 airliner. Unfortunately, Enterprise’s bloated budgets took a toll, and the studio only lasted three years until its bankruptcy — though not before releasing such classics as *Body and Soul* (1947), *Ramrod *(1947) and *Force of Evil* (1949).

After the premiere and preview screenings of *The Other Love*, the original longer ending was replaced with one deemed more palatable to American audiences for its general U.S. release. This original version, now restored, has not been seen by audiences since the 1940s.*—Jillian Borders*

DCP. **Production:** Enterprise Productions, Inc. **Distribution:** United Artists. **Producer:** David Lewis. **Director:** André de Toth. **Screenwriters:** Ladislas Fodor, Harry Brown. Based on a story by Erich Maria Remarque. **Cinematographer:** Victor Milner. **With:** Barbara Stanwyck, David Niven, Richard Conte, Gilbert Roland, Joan Lorring.

*Restoration funding provided by the Century Arts Foundation. Restored by the UCLA Film & Television Archive from the 35mm original nitrate picture negative, nitrate fine grain positive and original nitrate track negatives. Laboratory services by Roundabout Entertainment, Inc., Audio Mechanics, Simon Daniel Sound. Special thanks to Paramount Pictures Archive, FotoKem, Deluxe Media Audio Services.*

The Other Love

Ever wanted to build a synthesizer?

In this beginner&#x27;s workshop led by Dogbotic, participants will learn the process step-by-step, demystifying the horrible world of electrical engineering at every turn. You&#x27;ll learn how to build basic oscillators, filters, LFOs, and amplifiers, how to rig up your circuit to be light-sensitive, and oh-so-much more. Each participant will make their own working synth prototype, which we&#x27;ll tune together to form a delicious sound bath. You&#x27;ll then get to take your prototype home and use it to impress and irritate your friends and loved ones.All parts are included, no prior circuitry experience or musical ability needed!

You’ll be learning with:

Kirk Pearson (Dogbotic founder, creative director) and Sean Russell Hallowell (Dogbotic partner, technical director), both teach the DIY Synths virtual workshop.

About Dogbotic:

Dogbotic is a Bay-area based collective that teaches unconventional art classes as a means to promote creativity, discourage mindless consumerism, and engage in conversations about how to use our art to make the world more equitable. Our instructors love teaching artists how to engineer, and convincing folks how straightforward a lot of seemingly “difficult” concepts are. We hope to be a space free of judgement that fosters genuine collaboration and curiosity and an appreciation for the weird and wonderful.

Learn more us and our virtual workshops at [dogbotic.com](http://dogbotic.com/)

Build Your Own Synth hosted by Dogbotic (5/31)

### **ABOUT THE FILM:**

*In Japanese with English subtitles.*

Quiet passions erupt from within in Naruse’s late period masterpiece, a sumptuous melodrama of undulating and repressed feeling, set as the postwar dispersal of modernization stretches beyond Tokyo. Widow Reiko (Takamine) runs her in-law’s produce store, having rebuilt it herself in the 18 years since his passing, but faces a sudden outburst of new pressures: a push to remarry, fierce competition from a newly-minted supermarket and a love confession from her dead husband’s much younger brother Koji (Yuzo Kayama). Scripted by Takamine’s husband Zenzo Matsuyama, YEARNING finds devastating power in its tragic underpinnings as Takamine’s expressions—noted by even the faint glimmer of her eyes—convey multitudes—desire, melancholy and, as the film’s Japanese original title suggests, a swell of confusion in the wake of newfound longing.

FORMAT: 35mm

DISTRIBUTOR: Janus Films

COUNTRY: Japan

YEARNING

### **ABOUT THE EVENT:**

3:00pm | **Episode 1: “Too Mad Too Shy”**

3:24pm | **Episode 2: “Grow You Little Bastard”**

3:50pm | **Episode 3: “Survived Another Day”**

4:17pm | **Episode 4: “Coconut Killer”**

4:42pm | **Episode 5: “Are You Here For Me”**

5:09pm | **Episode 6: “Don’t Be a D…”**

5:36pm | Q&A with filmmaker Warwick Thornton

*Start times are approximate. Ticket includes entry to all episodes.*

### **ABOUT THE EPISODES:**

**Episode 1: “Too Mad Too Shy,” 2020, Dir. Warwick Thornton, 24 Min, A24, Australia**

Confused, lethargic and lazy, Warwick Thornton is alone and lonely. Angry at himself for feeling this way, he decides to survive on the beach by himself.

FORMAT: DCP

**Episode 2: “Grow You Little Bastard,” 2020, Dir. Warwick Thornton, 26 Min, A24, Australia**

Warwick realises his journey is harder than expected, as he feels lost and alone. Desperate for a beer, he struggles to keep going.

FORMAT: DCP

**Episode 3: “Survived Another Day,” 2020, Dir. Warwick Thornton, 27 Min, A24, Australia**

As Warwick tries yoga, he starts to face his demons and feels things shifting. However, he still struggles with the overwhelming loneliness.

FORMAT: DCP

**Episode 4: “Coconut Killer,” 2020, Dir. Warwick Thornton, 25 Min, A24, Australia**

Warwick experiences fleeting moments of happiness for the first time in a long while. He knows he has to face his demons at some point, as flashbacks from his old life resurface.

FORMAT: DCP

**Episode 5: “Are You Here For Me,” 2020, Dir. Warwick Thornton, 27 Min, A24, Australia**

Positive changes begin to form for Warwick, as his hunting and gathering skills improve. He finally feels confident enough to go spearfishing in shark- and croc-filled waters.

FORMAT: DCP

**Episode 6: “Don’t Be a D…” 2020, Dir. Warwick Thornton, 27 Min, A24, Australia**

Warwick feels a sense of achievement, as he manages to nail a few yoga poses. He also feels his sense of humour returning and decides it’s time to go home.

FORMAT: DCP

### **ABOUT THE SERIES:**

**THE BEACH, 2020, A24, Australia**

Award-winning film director Warwick Thornton attempts to transform his life while alone on a remote beach.

Q&A with filmmaker Warwick Thornton ‘Warwick Thornton: A Bleak Week Retrospective’

THE BEACH Marathon

### **ABOUT THE FILM:**

Shelley is living a carefree life until a rival gets her tossed out of the Playboy Mansion. With nowhere to go, fate delivers her to the sorority girls from Zeta Alpha Zeta. Unless they can sign a new pledge class, the seven socially clueless women will lose their house to the scheming girls of Phi Iota Mu. In order to accomplish their goal, they need Shelley to teach them the ways of makeup and men; at the same time, Shelley needs some of what the Zetas have – a sense of individuality. The combination leads all the girls to learn how to stop pretending and start being themselves.

FORMAT: 35mm

DISTRIBUTOR: Sony

COUNTRY: USA

Q&A with costume designer Mona May. Moderated by co-screenwriter Kirsten “Kiwi” Smith. ‘AS IF!: The Costumes of Mona May’

THE HOUSE BUNNY

### **ABOUT THE FILM:**

Will Ferrell and Chris Kattan bring their head-bobbing, club-hopping Butabi brothers to the big screen in this fall-down-funny comedy. It seems like Steve (Ferrell) and Doug Butabi (Kattan) will never be cool enough to make the Roxbury club’s guest list. That is, until they have a fender bender with their role model, club regular Richard Grieco. Eager to avoid litigation, Grieco befriends the starstruck pair and escorts them into a glittery world they once only dreamed about. Score! No longer will the hapless Butabis be A-club people leading B-club lives…maybe. 

FORMAT: 35mm

DISTRIBUTOR: Paramount

COUNTRY: USA

A NIGHT AT THE ROXBURY

A celebration of new work by Dr. Vanessa Carlisle & Dr. Stephanie Covington. 

Come by for words, snacks, crafts, music, and community. 

7-9pm

FREE! Books available for purchase. 

Spring is Sprung!

Scribble

**Screenwriters:** David Mickey Evans, Robert Gunter

**Producers:** Dale De La Torre, William S. Gilmore

*You&#8217;re killing me Smalls!* This much-cherished home run of a family film hits its the Vidiots big screen for a championship screening. During a summer of friendship and adventure, one boy becomes a part of the gang, nine boys become a team, and their leader becomes a legend by confronting the terrifying mystery beyond the right field wall. Bring your teammates and swing for the fences!

**Picks from the Video Store**

Looking for more underdog sports movies? Take home these winners tonight!

*The Bad News Bears, The Mighty Ducks, Little Big League*

**Accessibility Options**: Amplified Audio, please see the box office for devices.

The Sandlot

**Screenwriters**: Paul Schrader, Leonard Schrader

**Producer**: Tom Luddy, Mataichirô Yamamoto

Paul Schrader&#8217;s visually stunning, collagelike portrait of acclaimed Japanese author and playwright Yukio Mishima (played by Ken Ogata) investigates the inner turmoil and contradictions of a man who attempted an impossible harmony between self, art, and society. Taking place on Mishima&#8217;s last day, when he famously committed public seppuku, the film is punctuated by extended flashbacks to the writer&#8217;s life as well as by gloriously stylized evocations of his fictional works. With its rich cinematography by John Bailey, exquisite sets and costumes by Eiko Ishioka, and unforgettable, highly influential score by Philip Glass, *Mishima: A Life in Four Chapters* is a tribute to its subject and a bold, investigative work of art in its own right.

**Accessibility Options**: Open Captions, Amplified Audio, please see the box office for devices.

Mishima: A Life in Four Chapters

First Blood/ Extreme Prejudice

Castle in the Sky in 35mm

The Asphalt Jungle in 35mm

### **ABOUT THE FILM:**

Joel and Ethan Coen’s haunting tale of passion, crime and punishment, all presented in glorious black-and-white. Billy Bob Thornton stars as Ed Crane, a barber in a small Northern California town in 1949 who is dissatisfied with his life – until his wife’s (Frances McDormand) infidelity presents Ed with an opportunity for blackmail that he thinks will help him to change it. However, Ed’s scheme soon unravels and lays bare even darker secrets before leading to murder. Co-starring Michael Badalucco, James Gandolfini, Jon Polito and a young Scarlett Johansson.

FORMAT: DCP

DISTRIBUTOR: Universal

COUNTRY: USA

Q&A with cinematographer Roger Deakins and James Ellis Deakins Theatrical World Premiere of New Restoration 25th Anniversary ‘Bleak Week: Cinema of Despair – Year 5’

THE MAN WHO WASN'T THERE

Academy Award–winning Austrian director Michael Haneke shifted his focus from the social to the psychological for this riveting study of female sexuality and the dynamics of control, an adaptation of a controversial 1983 novel by Elfriede Jelinek. Haneke finds his match in Isabelle Huppert, who delivers an icy but quietly seething performance as Erika, a middle-aged piano professor at a Viennese conservatory who lives with her mother, in a claustrophobically codependent relationship. Severely repressed, she satisfies her masochistic urges only voyeuristically until she meets Walter (Benoît Magimel), a young student whose desire for Erika leads to a destructive infatuation that upsets the careful equilibrium of her life. A critical breakthrough for Haneke, The Piano Teacher—which won the Grand Prix as well as dual acting awards for its stars at Cannes—is a formalist masterwork that remains a shocking sensation.

Tuesday, 5/19

Los Feliz Theatre

TWIN PEAKS: Season 2, Ep. 19 and 20

7:00 PM

⭐

“Le Déménagement,”

L’HOMME À LA VALISE,

10:00 PM

⭐

New Beverly Cinema

Tobruk

Rough Night in Jericho

7:30 PM

⭐