Cure in 4K

Dreams (Yume) in 35mm

Academy Museum

### **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. Moderated by David Canfield. ‘AS IF!: The Costumes of Mona May’

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

Aero Theatre

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip to the country to visit her aunt at their ancestral house. She invites her six friends, Prof, Melody, Mac, Fantasy, Kung Fu, and Sweet, to join her. The girls soon discover that there is more to the old house than meets the eye.

House

Brain Dead Studios

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

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 *Young Sherlock*, followed by a conversation with cast members Hero Fiennes Tiffin, Dònal Finn, Zine Tseng, and executive producer Marc Resteghini.

From visionary director Guy Ritchie, *Young Sherlock* is an irreverent, action-packed mystery that charts the legendary origin story of the world’s greatest detective. When a charismatic, youthfully defiant Sherlock Holmes meets none other than James Moriarty he finds himself dragged into a murder investigation that threatens his liberty. Sherlock's first ever case unravels a globe-trotting conspiracy, leading to an explosive showdown that alters the course of his life forever. Unfolding in a vibrant Victorian England and adventuring abroad, the series will expose the early antics of the anarchic adolescent who is yet to evolve into Baker Street’s most renowned resident.

Watch the [official trailer.](https://www.youtube.com/watch?v=rXMrTALO2ME)

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: Young Sherlock and Post-Screening Conversation

LACMA

### **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

‘Maurice Pialat: An American Cinematheque Retrospective’

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

Los Feliz Theatre

Crimson Tide / Déjà Vu

Django Unchained

New Beverly Cinema

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**: Robert Mark Kamen

**Producer**: Jerry Weintraub

*Wax on, wax off,* once again. Before *Cobra Kai*, before Jaden and Jackie, there was Daniel-san. The enduring classic from 1984, director Robert Mark Kamen&#8217;s *The Karate Kid* delivers a swift kick in the coming-of-age film&#8217;s pants by sending a New Jersey teen with a chip on his shoulder to Reseda. In a search for friends, he finds some of cinema&#8217;s worst bullies at the Cobra Kai dojo, and a mentor named Mr. Miyagi, who teaches Daniel to trust his spirit as he trusts his body. Starring Ralph Macchio, Elizabeth Shue, William Zabka, and the late, great Pat Morita, the original *Karate Kid* is still the best around. With a chance to see it on the big screen, nothing&#8217;s gonna ever keep you down.

**Picks from the Video Store**

We love Pat Morita! Take home more gems from his wild career on glorious physical media tonight!

*Even Cowboys Get the Blues, Do or Die, Auntie Lee&#8217;s Meat Pies*

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

The Karate Kid

**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

Vidiots

Reservoir Dogs/ Johnny Handsome

The Peanut Butter Solution

Total Recall

Vista Theatre

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

*New restoration!*

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.**
*

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 1972 cryptid cult classic followed by a conversation about the film's legacy and Bigfoot lore and sightings!

THE LEGEND OF BOGGY CREEK  + Conversation w/ Matt Yoka & Josh Grolemund!

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!

Philosophical Research Society

**Screenwriters**: Roald Dahl, David Seltzer

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

With a special introduction by screenwriter **David Seltzer**!

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

With a kick-ass introduction from screenwriter **Sheldon Lettich**!

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

Hollywood Entertainment is proud to host director Henry Hanson and star Milo Talwani for the LA premiere of *Puppygirl*, the remarkable hyperpop docu-porn-madness, presented alongside their beloved comedy, *Dog Movie*! Their bright and beautifully lo-fi digital tales of deranged intracommunal dynamics are bracing and funny slices of intricately weaponized discomfort. In their condensed runtimes, they provoke us with brutal and brilliant observations about bad friends, boundaries, queer community and sexuality, porn, dogs, and so much more.

### Dog Movie

*Release Year:* 2023

*Run Time:* 56 mins

A passive-aggressive tenderqueer couple sends their household into a quiet tailspin when they adopt an elderly dog who shares the same name as the unemployed couch surfer they just can’t seem to confront in *Bros Before* filmmaker Henry Hanson&#8217;s improvised microbudget debut feature, which he/they describe as “the trans *Curb Your Enthusiasm*.”

### Puppygirl

*Release Year:* 2025

*Run Time:* 55 mins

A semi-delusional trans woman (Milo Talwani) embarks on a shocking, bizarre, and oddly touching personal odyssey to undo years of sexual repression by performing in puppygirl fetish porn in Henry Hanson&#8217;s new gonzo documentary.

Dog Movie + Puppygirl

### **ABOUT THE FILMS:**

**PADDINGTON, 2014, Dir. Paul King, 95 Mins, Lionsgate, UK/France**

A young Peruvian bear travels to London in search of a home. Finding himself lost and alone at Paddington Station, he meets the kindly Brown family, who offer him a temporary haven.

FORMAT: DCP

**PADDINGTON 2, 2017, Dir. Paul King, 104 Mins, Warner Bros., UK/France/Luxembourg**

Paddington, now happily settled with the Brown family and a popular member of the local community, picks up a series of odd jobs to buy the perfect present for his Aunt Lucy’s 100th birthday, only for the gift to be stolen.

FORMAT: DCP

**PADDINGTON IN PERU, 2025, Dir. Paul King, 106 Mins, Sony Pictures, UK/France/USA**

Full of Paddington’s signature blend of wit, charm, and laugh-out-loud humor, PADDINGTON IN PERU finds the beloved, marmalade-loving bear lost in the jungle on an exciting, high-stakes adventure. When Paddington discovers his beloved Aunt Lucy has gone missing from the Home for Retired Bears, he and the Brown family head to the wilds of Peru to look for her. The only clue to her whereabouts is a spot marked on an enigmatic map. Determined to solve the mystery, Paddington embarks on a thrilling quest through the rainforests of the Amazon to find his aunt…and may also uncover one of the world’s most legendary treasures.

FORMAT: DCP

‘Paddington’s Bleak Week Marmalade Chaser – Chapter 5’

PADDINGTON / PADDINGTON 2 / PADDINGTON IN PERU

Snake in the Monkey’s Shadow / Snake Deadly Act

The Silent Partner/ Narrow Margin

### **ABOUT THE FILM:**

A prequel to the smash hit TV series, TWIN PEAKS: FIRE WALK WITH ME follows Agent Dale Cooper as he investigates a murder in the final days of the infamous Laura Palmer’s life. In this small town, teens trade drugs and soap opera one-liners while a phantasmagoric serial killer is on the loose. Featuring a beloved score from Angelo Badalamenti and a soulful collaboration with “Falling” songstress Julee Cruise.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: USA

TWIN PEAKS: FIRE WALK WITH ME

### **ABOUT THE FILM:**

A feature film which presents deleted scenes from TWIN PEAKS: FIRE WALK WITH ME (1992) assembled together for the first time in an untold portion of the story’s prequel.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: USA

TWIN PEAKS: THE MISSING PIECES

Days of Heaven / The Wild Child

Mezzanine and Now Instant present the Los Angeles premiere of the restoration of *Trás-os-Montes* by the singular Portuguese husband-and-wife team António Reis & Margarida Cordeiro, a poet and a psychiatrist whose beautiful collaborations were a major influence on their contemporaries, including Manoel de Oliveira and their student Pedro Costa.

“Largely unknown outside Portugal, filmmakers António Reis (1927-1991) and Margarida Cordeiro (b. 1939) are legendary figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across the four films they made together, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, dreams, and material realities of a land and a people: namely, the peasants of Trás-os-Montes in Portugal’s remote Northeast. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro conjure up the deep, cyclical time of folk tradition. Their films are a collision of the forces of documentary and poetry, fact and fabulation, the ancient and the avant-garde, a vertigo of contradictions at once harmonious and sharply unreconciled. Employing simple and direct means, their work is all the more mystical for being so concrete. ‘Here and nowhere else. Here and anywhere else’—this is the paradoxical space-time of their films, in the words of Serge Daney.

Tras-os-Montes

Join us in the microcinema for a double dose of horror shorts sure to unnerve and mystify: Kiyoshi Kurosawa&#8217;s newly released NFT ***Chime*** and Renee Zhan&#8217;s lauded ***Shé (Snake)***.

***Chime***

**Director**: Kiyoshi Kurosawa **Runtime**: 45 min. **Language**: Japanese with English subtitles

A masterclass in escalating dread and shocking violence, *Chime *reaffirms Kiyoshi Kurosawa as one of modern horror’s most innovative and unpredictable visionaries. During a class, culinary instructor Matsuoka (Mutsuo Yoshioka) witnesses the suicide of a young student (Seiichi Kohinata), driven to insanity by what he claims is a chiming sound that controls his mind. Soon, Matsuoka begins hearing it, too, and descends into a mental abyss that warps his perception of reality and gives vent to his darkest impulses. Expertly blending psychological portraiture and hallucinatory mystery, Kurosawa offers a chilling depiction of madness that interrogates the very stability of our everyday existence, with the director’s patented creeping tracking shots and complex sound design fashioning an immersively terrifying and unnerving cinematic experience.

Screening with:

***Shé (Snake)***

**Director**: Renee Zhan **Runtime**: 15 min. **Language**: English and Mandarin

Fei, a 16 year old British-Chinese girl, is the top violinist in an elite youth orchestra. When another Chinese violinist arrives to challenge her place, Fei’s anxieties and internalized racism grow to take monstrous physical form. They whisper to her, urging her to be the best, no matter the cost.

Chime and Shé (Snake)

**Screenwriter**: Carlos Cuarón

**Producers**: Alfonso Cuarón,  Alejandro González Iñárritu,  Guillermo del Toro, Frida Torresblanco

Co-presented by the** Consulate General of Mexico in Los Angeles**

Get ready to score goal after goal with two of the dreamiest soccer players you&#8217;ve ever seen &#8211; Gael García Bernal and Diego Luna &#8211; in Carlos Cuarón&#8217;s hilarious and skewering satiric fútbol classic *Rudo y Cursi*. Tato and Beto are poor stepbrothers living on a banana plantation in Mexico. Both are talented soccer players, but their dreams lay elsewhere: tone-deaf Tato wants to be a singer, while Beto is content to remain on the plantation. One day, a sports agent sees the two young men playing soccer and offers to take one of them to Mexico City for a chance at sports stardom. With a production team and cast that read like a who&#8217;s who of Mexican cinema, this biting and engaging story of sibling rivalry, fame, and excess scores &#8211; don&#8217;t miss your chance to see it in all its celluloid glory!

**Picks from the Video Store**

Take home more Mexican masterpieces tonight on DVD and Blu-Ray

*Who the Hell is Juliette, Deep Crimson, Cabeza de Vaca*

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

Rudo y Cursi on 35mm

Angel Heart/ Jacob's Ladder

Grave of the Fireflies

Mamma Mia! Singalong

Shakespeare&#8217;s King Lear is reimagined as a singular historical epic set in sixteenth-century Japan where an aging warlord divides his kingdom between his three sons.

### **ABOUT THE FILMS:**

**“The Diary of an Unknown Soldier,” 1959, Dir. Peter Watkins, 20 Mins, UK**

*“The failure of ‘The Web’ (which did, quite undeservedly, win Four Stars in the 1956 ‘Ten Best’ competition), and of a subsequent film, ‘The Field of Red,’ set during the American Civil War – which was not only bad, but somehow (fortunately) disappeared – did not deter me. By 1959, I was working as an assistant film editor at ‘World Wide Pictures’, a documentary film company; and fortunate to have as colleagues many of the finest surviving filmmakers and editors from the days of the GPO and Crown Film Units – including the editor John Trumper, who had worked with John Grierson (and who later edited ‘Privilege’). Also with me at World Wide was Kevin Brownlow, a young filmmaker who was already making a great impact with his invaluable restoration work on Abel Gance’s masterpiece, ‘Napoleon’. Kevin was also steadily working on his own master-work, ‘It Happened Here’, a film depicting what would have happened if Germany had won World War II and occupied Britain. At the same time – with assistance from what had become the Playcraft Film Unit, Roger Higham from my army days in Canterbury, and a friend from London, Brian Robertson, who was to play the leading role – I was preparing ‘The Diary of an Unknown Soldier.’” – Peter Watkins*

FORMAT: DCP

**CULLODEN, 1964, Dir. Peter Watkins, 69 Mins, UK**

*In English and Scottish Gaelic with English subtitles.*

*“This was the 1960s, and the US army was ‘pacifying’ the Vietnam highlands. I wanted to draw a parallel between these events and what had happened in our own UK Highlands two centuries earlier, including because our knowledge of what took place after ‘Culloden’ was basically limited to an exotic image of ‘Bonnie Prince Charlie’ on the label of a Drambuie whiskey bottle. Secondly, I wanted to break through the conventional use of professional actors in historical melodramas, with the comfortable avoidance of reality that these provide, and to use amateurs – ordinary people – in a reconstruction of their own history. Many of the people portraying the Highland army in our film were direct descendants of those who had been killed on the Culloden Moor.” – Peter Watkins*

FORMAT: DCP

‘Peter Watkins: An American Cinematheque Retrospective’

"The Diary of an Unknown Soldier" / CULLODEN

### **ABOUT THE FILM:**

A bold and provocative essay film by Warwick Thornton about the deeply spiritual meaning of the Southern Cross constellation for Aboriginal people.

FORMAT: DCP

DISTRIBUTOR: Ronin Films

COUNTRY: Australia

‘Warwick Thornton: A Bleak Week Retrospective’

WE DON'T NEED A MAP

Mezzanine and Now Instant present the Los Angeles premiere of the restoration of *Ana* by the singular Portuguese husband-and-wife team António Reis & Margarida Cordeiro, a poet and a psychiatrist whose beautiful collaborations were a major influence on their contemporaries, including Manoel de Oliveira and their student Pedro Costa.

“Largely unknown outside Portugal, filmmakers António Reis (1927-1991) and Margarida Cordeiro (b. 1939) are legendary figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across the four films they made together, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, dreams, and material realities of a land and a people: namely, the peasants of Trás-os-Montes in Portugal’s remote Northeast. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro conjure up the deep, cyclical time of folk tradition. Their films are a collision of the forces of documentary and poetry, fact and fabulation, the ancient and the avant-garde, a vertigo of contradictions at once harmonious and sharply unreconciled. Employing simple and direct means, their work is all the more mystical for being so concrete. ‘Here and nowhere else. Here and anywhere else’—this is the paradoxical space-time of their films, in the words of Serge Daney.

Mountains of the Moon

African Video Club presents MIRROR MIRROR VOL. 5, an ongoing screening series dedicated to filmmakers across the diaspora.

Join us for a special screening of *My Father's Shadow*, the debut feature from director Akinola Davies Jr. and the UK's submission for Best International Feature Film at the 98th Academy Awards.

Set on the day June 12th, 1993 during Nigeria's first presidential election following years of military rule, the film follows two young brothers as they spend the day with their estranged father, moving through Lagos amid a country on the cusp of political change.

An evening of film and good company.

MIRROR MIRROR VOL. 5: My Father's Shadow

2220 Arts + Archives

Clash by Night with Don’t Bother to Knock

### **ABOUT THE FILM:**

*In English, Greek, Romanian, Albanian, Bulgarian, Serbian and Kurdish with English subtitles.*

An exiled filmmaker finally returns to his home country where former mysteries and afflictions of his early life come back to haunt him once more.

FORMAT: 35mm

COUNTRY: Greece

Rare 35mm collection print courtesy of the UCLA Film & Television Archive

ULYSSES' GAZE

Slowburn Shoot: An Indie Wrestling Story with Q&A with director Adam J. Wilde hosted by Chris Van Vliet

Synopsis: Slowburn Shoot is a feature length Documentary that takes an unvarnished look at the world of independent wrestling through the lens of Absolute Intense Wrestling. Rising stars and aging vets alike all pass through scrappy regional leagues like AIW. For some, it’s their only paycheck. For others, it’s their last chance. Slowburn Shoot also chronicles the trials and tribulations of founder John Thorne and his beloved co-owner “Chandler Biggins”. The story is told by some of the biggest names in professional wrestling today. They tell their own tales while revealing the tragedy and the ultimate triumph that is Absolute Intense Wrestling.

Slowburn Shoot with Q&A with director Adam J. Wilde hosted by Chris Van Vliet

Mezzanine and Now Instant present the Los Angeles premiere of the restoration of *Rosa de Areia* by the singular Portuguese husband-and-wife team António Reis & Margarida Cordeiro, a poet and a psychiatrist whose beautiful collaborations were a major influence on their contemporaries, including Manoel de Oliveira and their student Pedro Costa.

“Largely unknown outside Portugal, filmmakers António Reis (1927-1991) and Margarida Cordeiro (b. 1939) are legendary figures in their native country. Reis was a poet, a folklorist, and an ethnographer; Cordeiro, a psychiatrist by trade. Across the four films they made together, the duo forged a cinema of profound commitment, deeply rooted in the language, labors, myths, dreams, and material realities of a land and a people: namely, the peasants of Trás-os-Montes in Portugal’s remote Northeast. With one foot firmly anchored in the earth and the other in the cosmos, Reis and Cordeiro conjure up the deep, cyclical time of folk tradition. Their films are a collision of the forces of documentary and poetry, fact and fabulation, the ancient and the avant-garde, a vertigo of contradictions at once harmonious and sharply unreconciled. Employing simple and direct means, their work is all the more mystical for being so concrete. ‘Here and nowhere else. Here and anywhere else’—this is the paradoxical space-time of their films, in the words of Serge Daney.

Rosa de Areia

**Screenwriters**: Carole Eastman,  Bob Rafelson

**Producers**: Richard Wechsler,  Bob Rafelson

Join us as we embark on a road trip with legends Jack Nicholson and Karen Black in Bob Rafelson&#8217;s iconic drama. Following Jack Nicholson’s breakout supporting turn in *Easy Rider, *director Bob Rafelson devised a powerful leading role for the new star in the searing character study *Five Easy Pieces. *Nicholson plays the now iconic cad BobbyDupea, a shiftless thirtysomething oil rigger and former piano prodigy immune to any sense of responsibility, who returns to his upper-middle-class childhood home, blue-collar girlfriend (Karen Black, in an Oscar-nominated role) in tow, to see his estranged, ailing father. Moving in its simplicity and gritty in its textures, *Five Easy Pieces *is a lasting example of early-1970s American alienation and was nominated for four Oscars and five Golden Globes.

**Picks from the Video Store**

We love Karen Black, and we&#8217;ve got you covered to fall down her physical media rabbit hole!

*Day of the Locust, Trilogy of Terror, Rubin and Ed*

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

Five Easy Pieces

Disclosure Day

Gentlemen Prefer Blondes with Monkey Business in 4K

Michael Mann’s Manhunter: The Final Cut with Michael Mann

### **ABOUT THE FILM:**

The Dark Knight of Gotham City begins his war on crime with his first major enemy being the clownishly homicidal Joker.

FORMAT: 70mm

DISTRIBUTOR: Park Circus

COUNTRY: USA/UK

Ultra rare screening! Last screened in L.A. in 1998 ‘Ultra Cinematheque 70 Fest 2026’

BATMAN in 70mm

**NEW DATE:** Friday Jun 12

“After the Revolution, who’s going to pick up the garbage on Monday morning?” asked artist Mierle Laderman Ukeles in 1977. With that provocation, she shattered the divide between art and everyday labor, becoming the first artist in residence at New York City’s Department of Sanitation. Her collaborations with municipal workers injected art directly into the city’s bloodstream and redefined what creative practice could be. Inspired by Marcel Duchamp, Ukuleles pioneered the radical idea that routine maintenance—from changing diapers to picking up city trash to caring for the earth—could be acts of performance art.

Join us for a screening of *MAINTENANCE ARTIST*, the first feature documentary to explore this revolutionary public artist’s career. Featuring never-before-seen archival footage, the film traces a half-century of social and artistic upheaval through the lens of essential labor and public art. *MAINTENANCE ARTIST* celebrates Ukeles’s call for a “Maintenance Revolution,” honoring the workers who keep our world running and the artist who insisted that their labor deserves to be seen.

The screening will be introduced by multimedia artist Debra Scacco, the first civic-appointed artist in residence in the City of Santa Monica’s Water and Waste divisions (2023–25). 

DIRECTED BY: Toby Perl Freilich; PRODUCED BY: Toby Perl Freilich & Judith Mizrachy; EDITED BY: Anne Alvergue. 95 minutes, 2025.

This program is part of the [Art on Screen][1] series, which celebrates moving-image media and its intersection with art and art histories. The event is inspired by the Getty Research Institute’s collections of [feminist performance artists’ archives][2].

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

Screening: *MAINTENANCE ARTIST*

**
[REGISTER FOR THIS SCREENING](https://www.eventbrite.com/e/ucla-celebration-of-iranian-cinema-black-rabbit-white-rabbit-2025-tickets-1987863793117?aff=oddtdtcreator)**

**Please note**: Registration does not guarantee entry if the event reaches capacity. Admission is granted on a first come, first served basis.

Patrons who have registered will need to obtain their free tickets at the box office, where seating will be assigned. Any seats remaining 15 minutes before showtime will be released to standby patrons.

*Farhang Short Film Festival 3rd prize winner*

A Kurdish city in western Iran, Sardasht was the target of a chemical weapons attack in 1987. Director Pejman Alipour captures the moment the city’s peaceful calm was shattered in this powerful, watercolor-style animated short. 

DCP. Director/Screenwriter: Pejman Alipour. 

Tajikistan's submission to the Oscars for Best International Feature Film, *Black Rabbit, White Rabbit* finds writer-director Shahram Mokri working at the top of his cinematic game. On a film set for the remake of a classic Iranian film, the crew’s armorer worries that a prop gun may not be what it seems and a mysterious young woman arrives to demand an audition. Meanwhile, at a well-appointed villa, a woman recovering from a car accident discovers she may be the target of a murder plot. In Mokri’s inimitable style, long camera takes and elliptical editing blur time and space, visions and reality, history and fiction. 

DCP. Director: Shahram Mokri. Screenwriters: Shahram Mokri, Nasim Ahmadpour. With: Babak Karimi, Hasti Mohammaï, Kibriyo Dilyobova.

Black Rabbit, White Rabbit

### **ABOUT THE FILM:**

An older man (Lionel Atwill) warns a younger man (Cesar Romero) about a temptress (Marlene Dietrich) in 19th-century Spain.

FORMAT: 35mm

DISTRIBUTOR: Universal

COUNTRY: USA

Get your ticket for just $7.20 at the box office! ‘Film by the Foot’

THE DEVIL IS A WOMAN

The Third Man

Inglourious Basterds

Iconic comedian **Paula Poundstone** is known for her smart, observational humor and a spontaneous wit that has become the stuff of legend. She regularly plays theaters across the country, hosts a weekly comedy podcast, _Nobody Listens to Paula Poundstone_, and is a regular panelist on NPR’s _Wait, Wait… Don’t Tell Me_. She also voiced the character ‘Forgetter Paula’ in the feature films _Inside Out_ and _Inside Out 2._

  

Paula has starred in several HBO specials, including _Cats, Cops and Stuff_, which nabbed a cable ACE award for Best Comedy Special. She was the first female comic to host the White House Correspondents Dinner.  Paula has starred in two television series, both entitled _The Paula Poundstone Show_. Paula’s second book, _The Totally Unscientific Study of the Search for Human Happiness_, was one of eight semi-finalists for the Thurber Prize For American Humor; the audiobook was one of five finalists for the AUDIE award for Audiobook of the Year. P

  

  

  

  

  

  

* * *

Read safety information [here](https://thewallis.org/safety).

PAULA POUNDSTONE

The Wallis

**Screenwriter**: Boots Riley

**Producers**: Aaron Ryder,  Andrew Swett,  Allison Rose Carter,  Jon Read,  Boots Riley

Get your eyeballs and brain ready for maximum explosiveness as Boots Riley&#8217;s newest inventive, hilarious, surreal, stylish, stop-motion-sprinkled, and utterly singular masterpiece hits our microcinema in all its dazzling propagandistic glory! The fashion, the fun, the gonzo satire &#8211; it&#8217;s the wildest ride in cinema this year and an absolute revelation for those of us who have been craving the return of originality to filmmaking. Keke Palmer heads a crew of professional fashion boosters out to resell expensive clothes at a discount, but when a fashion maven (Demi Moore at her bitchy best) vows to take them down, and an unexpected guest with a magical gadget appears &#8211; their quest begins to turn global. Boots Riley solidifies his place among America&#8217;s most inventive auteurs with yet another brilliantly bonkers but perennially relevant capitalist critique that will keep you laughing, gagging (at the FASHION), and cheering throughout.

I Love Boosters

**Screenwriters**: George Miller, Brendan McCarthy, Nick Lathouris

**Producers**: Doug Mitchell, George Miller, P.J. Voeten

One of the best films of 2015 and winner of six Academy Awards, George Miller’s reboot of the *Mad Max* series is as thrillingly imaginative as the previous installments. This time around, Tom Hardy’s Max is along for the ride as Charlize Theron’s badass Imperator Furiosa flees the forces of a brutish warlord through a primitive, post-apocalyptic desert wasteland. Taking the form of an epic, breathlessly inventive chase sequence, *Mad Max**: Fury Road* is a nigh-operatic spectacle of anarchic action and vehicular carnage that never takes its foot off the gas!

**Picks from the Video Store**

Looking for more bad-ass Aussie adventures? Head down under with these deep cuts!

*Dead End Drive-In, Razorback, Stone*

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

Mad Max: Fury Road

**Screenwriters**: Ewan Leslie,  Karen McCullah,  Kirsten Smith

**Producers**: Lauren Shuler Donner,  Ewan Leslie

*I can do this. I am a dude. I am a hunky dude! I&#8217;m a badass hunky dude! *From the Golden Era of teen Shakespearean adaptations, Amanda Bynes and Channing Tatum star in this gender-bending modernization of The Bard&#8217;s *Twelfth Night*. Viola Hastings is in a real jam. Complications threaten her scheme to pose as her twin brother, Sebastian, and take his place at a new boarding school. She falls in love with her handsome roommate, Duke, who loves beautiful Olivia, who has fallen for Sebastian! As if that were not enough, Viola&#8217;s twin returns from London ahead of schedule but has no idea that his sister has already replaced him on campus. Who needs the World cup when you&#8217;ve got Amanda Bynes and Channing Tatum falling in love in drag on the soccer field?!?

**Picks from the Video Store**

We&#8217;ve got a huge Shakespeare section with all the classics AND the best 1990s and 2000s adaptations!

*10 Things I Hate About You, Romeo + Juliet, O*

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

She’s the Man

**Screenwriters**: Ícaro Martins, José Antonio Garcia

Get your kicks in the microcinema with the coolest queer punk Brazilian soccer sex romp you&#8217;ve never seen! São Paulo, 1983: Women’s soccer has just been legalized in Brazil. A group of rebellious young women form the Gayvotas Football Club and begin training for their first match. But as the team quickly becomes a media sensation, its members are forced to confront the prejudices of the conservative military dictatorship that they live under.

Banned shortly after its premiere at the 1983 São Paulo International Film Festival and never released outside of Brazil until now, Ícaro Martins and José Antonio Garcia’s *Onda Nova: Gayvotas Football Club* is a defiantly queer and gleefully anarchic sex comedy that still packs a subversive punch (or kick?) all these years later. Join us to rediscover your new favorite swingin&#8217; raunchy rockin&#8217; sports movie!

Onda Nova

Escape to Witch Mountain

Ladies of the Chorus in 35mm

Bound

How to Marry a Millionaire

Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer. But the lady is married and Karrer is determined to keep her husband away&#8230;

Damnation

Speed Racer is the tale of a young and brilliant racing driver. When corruption in the racing leagues costs his brother his life, he must team up with the police and the mysterious Racer X to bring an end to the corruption and criminal activities. Inspired by the cartoon series.

Speed Racer

Benjamin, a recent college graduate very worried about his future, finds himself in a love triangle with an older woman and her daughter.

The Graduate

**
[REGISTER FOR THIS SCREENING](https://www.eventbrite.com/e/ucla-celebration-of-iranian-cinema-nasib-nasibi-tickets-1987863869345?aff=oddtdtcreator)**

**Please note**: Registration does not guarantee entry if the event reaches capacity. Admission is granted on a first come, first served basis.

Patrons who have registered will need to obtain their free tickets at the box office, where seating will be assigned. Any seats remaining 15 minutes before showtime will be released to standby patrons.

__________

*Cinema-ye Azad*, or Free Cinema, was an underground movement of filmmakers in Iran that began in 1969, with the explicit aim of creating a fully independent cinema opposed to the mainstream “Filmfarsi” in both form and content, methods and ideals. Where the better-known, contemporaneous Iranian New Wave predominantly consisted of foreign-educated, Tehran-based middle-class filmmakers, *Cinema-ye Azad *consisted of self-taught filmmakers, sharing resources and knowledge with one another to bring the possibility of cultural production to disadvantaged provinces. At its height, *Cinema-ye Azad* boasted hundreds of active members, a critical magazine and festivals around the country, but the dream was short-lived as the movement ceased activities after the revolution. Its works, however, are being rediscovered thanks to the dedication of curators and archivists in London and Iran. As part of this year's UCLA Celebration of Iranian Cinema, the Archive is pleased to present two screenings highlighting the films of two key *Cinema-ye Azad* figures, Nasib Nasibi and Behnam Jafari.

 *Program curated by *Arta Barzanji and Shaghayegh Raoufi with research and archival support from Hadi Alipanah. *Film notes written by Hadi Alipanah, Arta Barzanji and Shaghayegh Raoufi.*

A report on historical buildings, legends and traditions along the route from Isfahan to Shiraz, passing through regions including Mahyar, Shahreza, Ziaratgah, Aminabad, and Izadkhast. The film mixes documentary observation with the poetic vision seen in Nasib Nasibi’s later works.

DCP. Director: Nasib Nasibi. Screenwriters: Nasib Nasibi, Abbas Nalbandian. With: Bahram Ardabili.

*How Frightening Is the Darkness of the Soul!* is an avant-garde film poem about drowning in a world of madness in search of true liberation. It highlights the close connections between literary and theatrical circles and the filmmaker's approach to avant-garde cinema. Initially, the main character attempts to escape the monotony of daily life by immersing herself in a world of madness. The film is a journey through the path she takes.

Director: Nasib Nasibi.

Screenwriters: Nasib Nasibi, Abbas Nalbandian. With: Mahvash Bargi, Farhad Majd Abadi, Shokooh Najm Abadi.

Cinema-ye Azad: Nasib Nasibi

### **ABOUT THE FILM:**

Mikio Naruse’s final silent film is a gloriously rich portrait of a waitress, Sugiko, whose life, despite a host of male admirers and even some intrigued movie talent scouts, ends up taking a suffocatingly domestic turn after a wealthy businessman accidentally hits her with his car. Featuring vividly drawn characters and bold political commentary, STREET WITHOUT END is the grandly entertaining silent melodrama with which Naruse arrived at the brink of the sound era.

FORMAT: 35mm

DISTRIBUTOR: Janus Films

COUNTRY: Japan

STREET WITHOUT END

### **ABOUT THE FILM:**

*In German, Norwegian, French, Swedish and English with English subtitles.*

*“EDVARD MUNCH is the most personal film I have ever made. Its genesis lies in a visit to the Edvard Munch Museum in Oslo, in 1968, during the time of a screening of several of my films by the Oslo University. I was awestruck by the strength of Munch’s canvases, especially those depicting the sad life of his family, and was very moved by the artist’s directness – with the people in his canvases looking straight at us. I also felt a personal affinity with his linking of past and present, e.g., in the large painting showing the anguish of his family as his sister Sophie is dying: the artist and his brothers and sisters are depicted as adults – as they were in the 1890s when he painted this scene – even though the event had taken place ca. 20 years earlier. On another occasion, I was also very moved by Munch’s masterpiece ‘Death of a Child,’ hanging in the National Gallery in Oslo; in this painting the artist is broken, and has, in an almost desperate frenzy, blurred the form of his earlier depiction of Sophie’s death. This painting, in its time, was attacked as being ‘incomplete’ – a charge which branded certain of his other works as well.*

*“It took me three years to persuade Norwegian TV (NRK) to fund this film, and in the end it only happened because Swedish TV convinced them to participate in a co-production.” – Peter Watkins*

FORMAT: DCP

COUNTRY: Norway/Sweden

EDVARD MUNCH

### **ABOUT THE FILM:**

Philip Hartman’s priceless artifact of New York’s pre-gentrification East Village follows down-and-out jukebox operator Macabee Cohn, played with deadpan melancholy by David Brisbin, who wanders the cheap tenements, dive bars and derelict streets of the East Village in search of a mysterious woman in a striped dress.

FORMAT: DCP

DISTRIBUTOR: The Film Desk

COUNTRY: USA

NO PICNIC

### **ABOUT THE FILM:**

Irene, unhappily married to her jealous husband Howard, imagines another life for herself in recurrent dreams of a fantasy lover. When Howard dies in a fire, these indulgent dreams morph into vivid visions where her late husband haunts her. The lines between reality and fantasy blur, and Irene finds herself trapped in a waking nightmare filled with lust, murder and mystery. 

FORMAT: 35mm

DISTRIBUTOR: Universal

COUNTRY: USA

‘Watch Local: Sex, Lies and… Fame at the Chateau Marmont’

Cure in 4K

2:30 PM

Dreams (Yume) in 35mm

7:30 PM

ROMY AND MICHELE’S HIGH SCHOOL REUNION,

THE WEDDING SINGER,

7:30 PM

House

8:45 PM

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

7:30 PM

Show & Tell: Harry Smith Archive

12:00 PM

Hearst Metrotone News: “Porgy & Bess Opening” (excerpt)

Black Girl

7:30 PM

...& Beautiful

10:15 PM

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

1:00 PM

Emmy Award®-Contender Series: Young Sherlock and Post-Screening Conversation

7:00 PM

BLUE HERON

1:00 PM

Krzysztof Kieślowski Documentary Shorts Program

4:00 PM

L'ENFANCE NUE

7:00 PM

TERMINATOR 2: JUDGMENT DAY

10:00 PM

Crimson Tide

Déjà Vu

5:30 PM

Django Unchained

11:59 PM

Slow Machine

7:00 PM

The Karate Kid

3:45 PM

Blue Heron

Midnight Run

7:00 PM

Serpent’s Path

9:45 PM

The Python Hunt

10:00 PM

Reservoir Dogs/ Johnny Handsome

6:00 PM

The Peanut Butter Solution

8:00 PM

Total Recall

11:30 PM