Los Angeles Filmforum presents *Cosmic Rage: A Fundraiser for the LA Tenants Union (LATU) & Community Self-Defense Coalition Los Angeles (CSDCLA)*.

In person: Jazmin Jazzy Romero, gh0sttaste

Full info: https://www.lafilmforum.org/schedule/spring-2026/cosmic-rage/

~

**COSMIC RAGE** is a program that presents formally subversive explorations of migration, empire, ritual and revolt. Curated in response to recent attacks against immigrant communities, the program asks us to honor the grief and rage within as a creative force that propels oppressed people towards action. These documentary, narrative and experimental works represent various perspectives by Latin-American, Black and immigrant filmmakers, all bursting with visions of rebellion and transformation. Food vendors will be present as well. Curated by Helen Peña.

The films will be followed by a live performance with Jazmin Romero and a DJ set by gh0sttaste.

All proceeds will go towards supporting immigrant tenants and organizing efforts at LA Tenants Union (LATU) & Community Self-Defense Coalition Los Angeles (CSDCLA).

LA Tenants Union (LATU) is an autonomous tenant union organizing tenants fighting gentrification and displacement across LA neighborhoods, and is currently running a mutual aid fund for struggling immigrant members in crisis. https://latenantsunion.org/

Community Self-Defense Coalition Los Angeles (CSDCLA) has been a pillar across LA in organizing defense to support immigrant communities across LA county, and are raising money to support separated families with access to food, medical supplies, legal assistance, housing security and a means to contact their loved ones. @communityselfdefensecoalition

Jazmin Jazzy Romero is an artist and musician from Los Angeles, California. Playing with a mix of sound, movement, and material, she develops performance-based worlds where musical thinking becomes a method for story-telling. She engages with musical gesture and physical form to produce scores and compositions that materialize as performances, video, and sculptural assemblages. Her artworks are activated through liveness and collaboration, viewer interpretation, repetition, and variation where meaning is generated through encounter and exchange. She draws from both her formal musical training and embodied, intuitive processes, using composition as a way to translate personal and collective histories into spatial and sonic experiences. She is also a member of various performance and music production collectives, such as COQUETA. https://www.jazminromero.com/

Cosmic Rage: A Fundraiser for the LATU + CSDCLA

2220 Arts + Archives

Secrets & Lies

Black Sunday in 35mm

CANCELLED: Pool of London

Academy Museum

### **ABOUT THE FILM:**

*In Japanese with English subtitles.*

A couple at the table by the window look happier than anybody else in the restaurant. Hiroshi Eda, who works at a governmental office, has got a promotion and his wife, Yumiko, has been pregnant. Their happiness seems to last forever, but actually it ends that afternoon with a traffic accident that kills the husband. Shiro Mishima, the young man who has caused the accident, is a promising salaried-man of the Pacific Trading Company. He happens to meet Yumiko in the restaurant where she has last seen her husband alive. Shiro promises to give her fifteen thousand yen every month for compensation.

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 ‘Transcendental Appointments’ and ‘Mikio Naruse: An American Cinematheque Retrospective’

SCATTERED CLOUDS

### **ABOUT THE FILM:**

Jack Nicholson and Shelley Duvall star in director Stanley Kubrick’s disturbing adaptation of Stephen King’s blockbuster horror novel. When writer Jack Torrance (Nicholson)–who has a history of alcoholism and child abuse–takes a job as winter caretaker for a hotel high in the Rocky Mountains, he, his wife (Duvall) and their psychic young son will be isolated until spring. But once the first blizzard closes the road out, the accumulated power of evil deeds committed at the hotel begins to drive Jack mad. Now there may be no escape for his wife and son in this haunting madness, memory and family violence.

FORMAT: 35mm

DISTRIBUTOR: Park Circus

COUNTRY: USA/UK

THE SHINING

### **ABOUT THE EVENT:**

*“Between 2016-17, composer Michael Nyman and I collaborated on a massive multi-screen installation for The State Hermitage Museum, Saint Petersburg, and Dartmouth College, New Hampshire. The idea was to produce a mash-up of the raw unedited Mexican footage with Michael’s music. The experimental digital restoration of the combined sounds and images would extend alongside José Clemente Orozco’s *The Epic of American Civilization* (1932-34), a large, multi-panel horizontal mural at Dartmouth College, and also inhabit a rather small area by Hermitage standards, the Jordan “Kerensky” Staircase Eisenstein had filmed for October (1928). The weight of the enterprise was its undoing. The one “object” realized was the 2-screen IDOLS BEHIND ALTARS composed of footage used by Jay Leyda for his marvelous EISENSTEIN’S MEXICAN FILM, EPISODES FOR STUDY (1955-57). The music and films evoked a new language of non-editing, that is each spoke back and forth to one another revitalizing the enchantments captured by Eisenstein. The overall effect conveys the vivid curiosity and sense of wonder witnessed by the filmmakers as they sculpted moving images into a portrait of Mexico between 1930 and 1932. The new music composed and performed in 2026 by Paul D. Miller aka DJ Spooky is just that, a joyous new reunion invigorating the authentic sights and sounds witnessed by Eisenstein.” — Bruce Posner*

*“If 500 years from now the name ‘Bruce Posner’ is forgotten, future historians you will name you the Master of Moving Diptychs. Eisenstein spoke of ‘vertical montage.’ When he sees your brand-new Idols Behind Altars, he will theorize ‘lateral montage.’ The panel pairs talk to each other with precision — now conjuring phantom eyeline matches, now forming geometrical shapes. The whole is very convincing, and I am sure Eisen+Tissé would not be against experimenting with parallel paneling, reminds me of Eisen’s ‘dynamic square’ theory.” — Yuri Tsivian*

*“It’s all about perspective. What is film but a collision of angles? What is a film soundtrack but an invisible mirror to the cinematic imaginary? When I approached Eisenstein’s fractured Mexican masterpiece, I found myself drawn back to my conviction that cinema is not merely a medium of observation, but a revolutionary engine of thought. In the digital age, our relationship to the image is more ‘dialectical’ than ever. It’s all a mix. We live in a world of constant juxtaposition, a perpetual ‘overtonal montage’ of data and desire. My score is a reflection of that friction. The rest, as we say in DJ culture, is ‘a remix.'” — Paul D. Miller aka DJ Spooky*

FORMAT: DCP

DISTRIBUTOR: Kino Lorber

Advance Screening of New Restorations Films courtesy of British Film Institute, Cineric, Inc., Det Danske Filminstitut, Filmmakers Showcase, Gosfilmofond of Russia, Indiana University Libraries Moving Image Archive, Indiana University, Bloomington and Turner Classic Movies Photo courtesy of Kino Classics, Gosfilmofond and Filmmakers Showcase Restorations by Bruce Posner ‘Sergei Eisenstein Restorations’

¡SERGEI EISENSTEIN MÉXICO! IDOLS BEHIND ALTARS

Aero Theatre

Picasso forger, fake author and magic tricks in a wild ride of a &#8220;factual&#8221; tale from Orson Welles. I&#8217;ll take the steak au poivre too!

F for Fake

The U.N.G.C.C. (United Nations Godzilla Countermeasure Center) recovers the remains of Mecha-King Ghidorah and construct Mechagodzilla as a countermeasure against Godzilla. Meanwhile, a giant egg is discovered along with a new monster called Rodan. The egg is soon found to be none other than an infant Godzillasaurus.

Godzilla vs. Mechagodzilla II

Brain Dead Studios

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

In a dystopian future where Earth has become near-uninhabitable, a team of astronauts embark on a mission to find a new home for humanity.

INTERSTELLAR (2014)(PG-13) Fri 5/15: 7:30 pm; Sun 5/17 @ 3pm & 7:30 pm

Gardena Cinema

LPS is a local poetry society dedicated to keeping poetry vibrant and accessible. Each 75-minute event features up to 21 randomly drawn readers sharing one poem each, creating a lively, democratic celebration of language and community. Join us & share a poem!

One poem per person (yours or one of your favorites!).

In-person signups open 1/2 hour prior to the event (limited to 21).

No sign-ups after the event begins.

Spirits of a future world unite!

LPS @ HML Poetry Open Mic (5/17)

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.

As we count down to the upcoming World Cup, this outdoor screening invites audiences to revisit iconic moments from soccer history. Bring friends, family, and a picnic and experience the beautiful game on the big screen in a communal, joyful setting. Presented in conjunction with the exhibition [*Fútbol Is Life*](https://www.lacma.org/art/exhibition/futbol-life-animated-sportraits-lyndon-j-barrois-sr), this series highlights how transcendent moments on the pitch become lasting cultural memories that connect people across generations and borders.  

**Diego Maradona's "Hand of God" Match (1986 World Cup)**
Match: Argentina vs. England (Quarter-final)
Date: June 22, 1986

“A little with the head of Maradona, and a little with the hand of God.”

Diego Maradona’s enigmatic explanation about his infamous opener in Argentina’s 1986 FIFA World Cup Mexico™ quarter-final clash with England holds a place in football history alongside the goal itself and his mesmeric second, which followed just four minutes later. The meeting at Mexico City’s Estadio Azteca on June 22, 1986, will forever be remembered for Maradona’s moment of gamesmanship and then the flash of pure genius which provided a snapshot into the career and life of one of the greatest players of all time in under 300 seconds.

**Go Metro. The D Line now brings you directly to LACMA (Wilshire/Fairfax Station). Plan your trip at **[**Metro.net**](http://Metro.net)**.**

Fútbol on Film: Diego Maradona's "Hand of God" Match

LACMA

### **ABOUT THE FILM:**

In San Francisco, a psychopathic gangster and his mentor retrieve heroin packages carried by unsuspecting travelers.

FORMAT: 35mm

DISTRIBUTOR: Sony Pictures Entertainment

COUNTRY: USA

‘FAITH, REDEMPTION, EVIL: EUPHORIA Inspirations’

THE LINEUP

### **ABOUT THE FILM:**

In a small New Hampshire town during the 1930s and ’40s, an African-American doctor and his family pass for white. Although successful and accepted in their community, they live a lie…in constant fear of being discovered in this riveting drama about racism in the United States before the Civil Rights Movement.

FORMAT: 35mm

DISTRIBUTOR: Park Circus

COUNTRY: USA

LOST BOUNDARIES

### **ABOUT THE FILM:**

*In French with English subtitles.*

With his raw style of filmmaking, Maurice Pialat has been called the John Cassavetes of French cinema, and the scorching À NOS AMOURS is one of his greatest achievements. In a revelatory film debut, the dynamic, fresh-faced Sandrine Bonnaire plays Suzanne, a fifteen-year-old Parisian who embarks on a sexual rampage in an effort to separate herself from her overbearing, beloved father (played with astonishing magnetism by Pialat himself), ineffectual mother and brutish brother. A tender character study that can erupt in startling violence, À NOS AMOURS is one of the high-water marks of eighties French cinema.

FORMAT: DCP

DISTRIBUTOR: Janus Films

COUNTRY: France

‘Maurice Pialat: An American Cinematheque Retrospective’

À NOS AMOURS

### **ABOUT THE EVENT:**

Silverlake Scream Show is a 501(c)(3) nonprofit dedicated to championing bold new voices in horror and cultivating a passionate, engaged fan community. First Bite is a screening series focused on debut horror features, pairing each film with a candid Q&A about what it actually takes to get a first feature made. The series is designed to demystify the process, creating a filmmaker-first conversation around everything from financing and production to festivals and distribution.

### **ABOUT THE FILM:**

Traveling to Detroit for a job interview, a young woman books a rental home. But when she arrives late at night, she discovers that the house is double booked and a strange man is already staying there. Against her better judgement, she decides to spend the evening, but soon discovers that there’s a lot more to fear than just an unexpected house guest.

FORMAT: DCP

DISTRIBUTOR: Disney

COUNTRY: USA

Silverlake Scream Show Presents BARBARIAN

### **ABOUT THE FILM:**

A producer monkey pitches a fairytale extravaganza to a skeptical financier. A psychedelic meta-comedy that mixes animation with excerpts from a Soviet science-fiction fantasy spectacle. A group of monkeys, including a director loosely inspired by Dennis Hopper’s EASY RIDER persona, struggle through various trials and tribulations while making an epic adventure film in this psychedelic and satirical look at the Hollywood counterculture of the early ’70s. An unlikely hybrid of analogue animation and live action Soviet fantasy film, TIKI TIKI repurposes extended passages from Rolan Bykov’s eye-popping 1967 phantasmagoria AYBOLIT-66 as the film within the film, adding irreverent comic dubbing and cutting to subvert the original intent. An unapologetically eccentric experience that has earned comparisons to H.C. Potter’s HELLZAPOPPIN’, TIKI TIKI remains one of the most sought-after animated enigmas of its era. New 4K restoration from the original a/b negatives by Canadian International Pictures with funding from Telefilm Canada.

FORMAT: DCP

DISTRIBUTOR: Canadian International Pictures

COUNTRY: Canada

TIKI TIKI

Los Feliz Theatre

Frankenstein

Man on Fire

New Beverly Cinema

Acclaimed documentarian Raoul Peck's vital & unnervingly prescient documentary about the "1984" author & his lessons for our troubled times

Raoul Peck's ORWELL: 2+2=5 (2025)

Philosophical Research Society

**Screenwriter**: Thomas Schumacher

**Producers**: Jim Cox,  Karey Kirkpatrick,  Joe Ranft

The cutest secret agent mice are back to save yet another kiddo in distress in this massively fun and adorable Disney adventure all about saving endangered wildlife with all-star voice talent from Bob Newhart, Eva Gabor, John Candy and even George C. Scott. A lawless poacher wants to capture a majestic and rare golden eagle, so he kidnaps the boy who knows where to find the bird. Not to worry &#8212; the Rescue Aid Society&#8217;s top agents, heroic mice Miss Bianca and Bernard, fly to Australia to save the day. Accompanying the fearless duo are bumbling albatross Wilbur and local field operative Jake the Kangaroo Rat. Throw another shrimp on the barbie and head with us on an animated Australian adventure!

**Picks from the Video Store**

Take home more adorable animated mice!

*The Secret of NIMH, Ratatouille, Ralph S. Mouse*

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

The Rescuers Down Under

Filmmaker **Athina Rachel Tsangari** in conversation with filmmaker/animator **Flóra Anna Buda **(*27*, Short Film Palme d&#8217;Or)!

Part of *Worlds Apart: The Films of Athina Rachel Tsangari,* a retrospective of the Greek director&#8217;s films presented by Acropolis Cinema and MUBI and running from April 17 through mid-May at 2220 Arts + Archives, Vidiots, and the Los Feliz 3.**

Featuring:

***FIT ***(Dir. Athina Rachel Tsangari, 1994, 8 min)

Lizzie discovers her inability to (and obsession with) fitting things inside of other things.

***Reflections*** (Dir. Athina Rachel Tsangari, 2009, 8 min)

Mapping projections of analogue and digital animations at Acropolis Museum Opening Ceremony, 2009.

***The Capsule*** (Dir. Athina Rachel Tsangari, 2012, 35 min)

Seven young women. A mansion perched on a Cycladic rock. A series of lessons on discipline, desire, discovery, and disappearance. A melancholy, inescapable cycle on the brink of womanhood &#8211; infinitely.

***24 Frames Per Century*** (Dir. Athina Rachel Tsangari, 2013, 2 min)

A pair of film projectors discuss their impending obsolescence.

**Plus! A Bonus Secret Film** (Dir. Athina Rachel Tsangari, ???)

Short Films by Athina Rachel Tsangari

**Screenwriter**: Becky Johnston

**Producers**: Robert Cavallo,  Joseph Ruffalo,  Steven Fargnoli

With a special introduction by screenwriter **Becky Johnston**!

Icon of icons &#8211; the one and only Prince &#8211; directed and starred in this black and white cult classic musical gigolo fantasy. After the resounding success of *Purple Rain*, Prince cashed in his passion project chips on this fun and frivolous romp through the French Riviera. Prince and Jerome Benton play scammers and gigolos, out to con rich women out of their diamonds and pearls, but when he runs into a stunning heiress played by Kristin Scott Thomas, he&#8217;s got to choose between love and money. While not structured like the standard musical with diegetic musical numbers, you&#8217;ll be vibing to a fully Prince soundtrack as you watch the icon seduce, swindle, and goof around like a silent slapstick comedian. You won&#8217;t want to miss your chance to see it on the big screen and especially *hear* it through our killer speaker system!

**Picks from the Video Store**

Take home more Prince bangers from our video rental collection!

*Purple Rain, Graffiti Bridge, Prince: The Hits Collection*

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

Under the Cherry Moon

**Screenwriters**: Athina Rachel Tsangari,  Joslyn Barnes

**Producers**: Joslyn Barnes,  Viola Fügen,  Rebecca O&#8217;Brien,  Athina Rachel Tsangari, Michael Weber

With Writer/Director/Producer **Athina Rachel Tsangari** in conversation with filmmaker **Josephine Decker** after the screening!

Part of *Worlds Apart: The Films of Athina Rachel Tsangari,* a retrospective of the Greek director’s films presented by Acropolis Cinema and MUBI and running from April 17 through mid-May at 2220 Arts + Archives, Vidiots, and the Los Feliz 3.

Greek filmmaker Athina Rachel Tsangari, who deconstructed human behavior within bounded communities in *Attenberg* and *Chevalier*, sets her sights on entirely new environs in *Harvest*, which takes place in a remote village in medieval England. Adapted from the acclaimed novel by British writer Jim Crace, Tsangari’s film stars Caleb Landry Jones as Walter Thirsk, the former childhood friend and manservant of the village’s weak-willed landowner, Master Kent (Harry Melling). Marked by superstition and the scapegoating of outsiders, the town’s denizens fall under new threat after Kent’s iron-fisted city cousin comes into possession of the land, with new plans for agricultural profit. Shot in the sun-dappled Scottish countryside with natural light by cinematographer Sean Price Williams, Tsangari’s most ambitious work to date is both carnal and cerebral, a multifaceted reflection on man’s relationship to the land, rich in atmospherics and thematic resonance. (NYFF)

*&#8220;An audacious, savage carnival of a film.&#8221;* —Jonathan Romney, *The Financial Times*

*&#8220;[A] vigorous, yeasty period piece&#8230; transfixes as a whole-sackcloth immersion into another time and place.&#8221;* —Guy Lodge, *Variety*

*&#8220;Dreamy, hazy and phantasmic, vacillating between extreme beauty and something approaching folk horror.&#8221;* —Alissa Wilkinson, *The New York Times*

*&#8220;Stands strong and tall, a work solid as an oak. Full of a sensual love of nature and a distinctive vibe, it’s tangy like a home-brewed ale.&#8221;* —Leslie Felperin,* The Hollywood Reporter*

*&#8220;Fundamentally a work of political cinema, a social archeology of the emergence of capitalism—of the depravities of modern economics and the inherent injustices of its legal premises.&#8221;* —Richard Brody, *The New Yorker*

Harvest

Vidiots

Having a Wild Weekend

The Rip

Vista Theatre

Barton Fink in 35mm

The Passionate Friends

### **ABOUT THE FILM:**

A widow who works at a local aquarium finds joy again when she forms an unlikely bond with a Giant Pacific Octopus and a wayward young man who comes to town in search of family. Together, they will uncover a mystery that will lead them to a life-changing discovery and restore their sense of wonder. Based on the best-selling book.

FORMAT: DCP

DISTRIBUTOR: Netflix

COUNTRY: USA

Q&A with filmmaker Olivia Newman and editor Tamara Meem. Moderated by Deniz Gamze Erguven. Popcorn and soda courtesy of Netflix

REMARKABLY BRIGHT CREATURES

### **ABOUT THE FILM:**

Although notorious New Orleans gangster J.D. Walker (David McKnight) is shot and killed in the 1940s, his spirit remains restless for three decades, until a hypnotist’s supernatural nightclub act allows him to take over the body of Isaac (Glynn Turman), a mild-mannered law student. After inhabiting Isaac, Walker decides to hunt down the Rev. Elijah Bliss (Louis Gossett Jr.), a former criminal who helped the authorities find and assassinate the mobster years ago.

FORMAT: 35mm

DISTRIBUTOR: Park Circus

COUNTRY: USA

50th Anniversary Co-presented by 36 Cinema ‘Cinematic Void’

Cinematic Void Presents J.D.'S REVENGE

### **ABOUT THE FILM:**

Reese Witherspoon as potty-mouthed white trash Vanessa Lutz is among her most underrated roles. In this modern take on Little Red Riding Hood, Kiefer Sutherland plays the not subtly named Bob Wolverton, a serial killer who meets his match in Vanessa, a fifteen year old on her way to her grandmother’s after her parents are both arrested. Bob picks her up hitchhiking, gains her trust and then reveals himself – but Vanessa is sharp and quick, shooting him and leaving him for dead. Trouble is, he doesn’t die, and instead she finds herself on trial. Can this bad behaving juvenile delinquent win against a well-respected school counselor? You better believe she won’t go down without a fight!

FORMAT: DCP

DISTRIBUTOR: AGFA

COUNTRY: USA

FREEWAY

I Love Maria / Aces Go Places IV

**Producers**: David Zeiger,  Evangeline Griego,  Aaron Zarrow

Vidiots is overwhelmed to welcome actor, activist, and eternal icon **Jane Fonda** for a special 20th Anniversary screening of the documentary *Sir! No Sir!* followed by a conversation with Fonda, director **David Zeiger**, and **Viet Thanh Nguyen** (*The Sympathizer*).

Easily the most timely and resonant film about the soldiers on the front lines of antiwar resistance, the award-winning breakout theatrical hit *Sir! No Sir!*  Tells an almost entirely forgotten story of the military men and women who helped force the U.S. government to end the Vietnam War. Contrary to the popular image of long-haired hippies spitting on returning soldiers, *Sir! No Sir!* vividly demonstrates that GIs were the heart and soul of the anti-war movement. Poignantly narrated by a diverse cast of veteran GI resisters who recall the ferocious days of peace marches and stiff jail sentences, SIR! NO SIR! pulls no punches in its raw depiction of the power of people, especially those in uniform. Directed by David Zeiger, *Sir! No Sir!* is *&#8220;powerful stuff, offering us not only a new look at the past, but to the unavoidably relevant insights into the present&#8221;* (New York Daily News).

**Picks from the Video Store**

Take home tons of Jane Fonda deep cuts from our video rental collection, including:

*They Shoot Horses, Don&#8217;t They? In the Cool of the Day, Joy House*

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

Sir! No Sir! on 35mm

Cure in 4K

Terminator 2: Judgment Day in 4K

Hell Is a City in 35mm

### **ABOUT THE EPISODE:**

**Episode 10, “Secateurs,” Dir. Mike Barker, 59 Mins., Disney, USA**

While Becka faces the consequences of her actions, Agnes and Daisy must decide how far they’re willing to go to protect her.

FORMAT: DCP

### **ABOUT THE SERIES:**

**THE TESTAMENTS, 2026, Disney, USA**

An evolution of THE HANDMAID’S TALE, THE TESTAMENTS is based on Margaret Atwood’s novel of the same name and is a dramatic coming-of-age story set in Gilead. The series follows young teens Agnes, dutiful and pious, and Daisy, a new arrival and convert from beyond Gilead’s borders. As they navigate the gilded halls of Aunt Lydia’s elite preparatory school for future wives, a place where obedience is instilled brutally and always with divine justification, their bond becomes the catalyst that will upend their past, their present and their future.

Q&A with showrunner and executive producer Bruce Miller, executive producer Warren Littlefield and actors Chase Infiniti, Ann Dowd, Lucy Halliday, Mabel Li and Amy Seimetz. Moderated by Variety’s Jazz Tangcay. Popcorn, candy and soda courtesy of Disney

THE TESTAMENTS

In 1910, Richard Gere shoots his boss and runs off to a farm in the Texas Panhandle. Featuring a love triangle, wheat blowing in the wind and lots of locusts. That soft, lyrical and sumptuous Terry Malick touch.

Days of Heaven

The Black Arrow / Fortunes of Captain Blood

**Producers**: Diane Ademu-John,  Carl Deal,  Tia Lessin,  Karen Ranucci,  Caren Spruch, Tony Tabatznik

Fiercely independent journalist Amy Goodman has spent three decades holding the powerful to account, reporting from war zones and the *Democracy Now!* newsroom. In *Steal This Story, Please!*, Oscar-nominated filmmakers Carl Deal and Tia Lessin craft a riveting portrait of journalism’s power – and peril – in an era of corporate control and political attacks on truth.

Undeterred by armed soldiers, evasive politicians, and riot police, Amy Goodman has reported some of the most consequential stories of our time. *Steal This Story, Please!* is a gripping account of the trailblazing journalist whose unwavering commitment to truth-telling spans three decades of turbulent history. From the frontlines of global conflicts to the organized chaos of her daily news show *Democracy Now!*, Goodman amplifies stories and voices too often silenced by commercial media.

Oscar-nominated filmmakers Carl Deal and Tia Lessin (*Trouble the Water, Citizen Koch, The Janes*) take us behind the scenes with the warm, wisecracking granddaughter of an Orthodox rabbi — raised in a tradition of asking hard questions – as she navigates a media landscape reshaped by technology, corporate consolidation, and political assaults on the press and on truth itself. Urgent, provocative and unexpectedly funny, *Steal This Story, Please!* is both a call to action and a celebration of resistance, posing the question: what happens to democracy when the press stops challenging power?

Steal This Story, Please!

Bowery Buckaroos/Crazy Over Horses

Hostel/ Hostel: Part II

Join us for the Los Angeles premiere of END OF HISTORY (2025) presented by MeansTV, followed by a Zoom Q&A with director Jacob Gregor.

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SYNOPSIS:

A man obsessed with motivational and right wing culture war videos goes on a hollow road trip of discovery.

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*“What could have been a thin gimmick lends itself cinematically to a lot of potential excavation. The long final shot encapsulates the film's freewheeling range of formal, durational, comedic, dramatic, mundane, and absurd preoccupations. And it vindicates the entire project as something worthwhile and illuminating and really fucking funny.” (Sable, Letterboxd)*

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*“Imagine a man with the mediocre soul of Lex Fridman inhabiting a James Benning film. Even the most handsome vistas are liminal spaces; natural beauty doesn't supply human connection.” (Steve Erickson, Letterboxd)*

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*“Jeanne Dielman for red-pilled incels (complimentary).” (Jacob Farley, Letterboxd)*

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**dir. Jacob Gregor, 2025***United States, digital projection*82 minutes

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## WEDNESDAY, 5/277:30P DOORS8:00P SCREENING

Followed by a Zoom Q&A with director Jacob Gregor, led by writer & filmmaker Chris Shields.

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$10 general admission, $9 for members.

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*Whammy! is located in the REAR unit of 2514 Sunset Blvd, entrance access is via Rampart Blvd.*

END OF HISTORY (2025) L.A. Premiere!

WHAMMY!

Acropolis Cinema presents *Two Seasons, Two Strangers* (Dir. Sho Miyake, 2025).

A tale of cinema with a bifurcated film-within-a-film structure reminiscent of Hong Sangsoo, *Two Seasons, Two Strangers* begins in a seaside town, where tourist Nagisa (Yuumi Kawai) and local Natsuo (Mansaku Takada) fall into a lush summer romance, all deep-sea blues and wind-whipped sundresses. It then yanks us out of this story to show its screenwriter, Li (Eun-kyung Shim, a former Korean child star who also acts in Japan), ducking questions and musing on her own creative block at a deliciously awkward post-screening Q&A (“I don’t have much talent”). In need of a creative and personal refresh, Li heads off to a snowy resort, where she meets the divorced innkeeper Benzo (Shinichi Tsutsumi). The two soon form the kind of relationship that a filmmaker without “much talent” would struggle to make compelling. But not Sho Miyake, who builds his story—adapted from two manga by the legendary Yoshiharu Tsuge—on a foundation of shimmering, serendipitous images, at once cozy and profound, like the way the steam off a bowl of noodles fogs up a pair of glasses, or the revelation of a landscape as a train emerges from a tunnel. Miyake’s *Small, Slow But Steady* was one of the highlights of the 2022 Berlinale, and Locarno Golden Leopard winner *Two Seasons, Two Strangers* further confirms his status as a master of deceptively placid, sensitive, and witty studies of surprising human connection. A Several Futures release. (Film at Lincoln Center)

Acropolis Cinema: Sho Miyake's Two Seasons, Two Strangers

**In collaboration with Los Angeles Greek Film Festival**

On May 28, we welcome Los Angeles Greek Film Festival (LAGFF) with three new films from Greece!

[](https://www.lagff.org/)

### BEARCAVE (2025)

Set in the Greek mountain village of Tirna, Bearcave follows Argyro, a badass farmer, and her best friend Anneta, the village “it” girl and local manicurist. Once Anneta admits that she’s pregnant and planning to leave town with her lame cop boyfriend, Argyro challenges Anneta to embark on an adventure to find the mystical bear cave. Before Argyro has a chance to confess her own love, Anneta leaves for her new life in the big city. Argyro is left broken. Meanwhile, in her new home with her clingy mother-in-law, Anneta quickly realizes her destiny lies elsewhere,

Krysianna Papadakis (b. 1995 she/they) is from Crete, living in Athens, Greece. She completed her undergraduate studies in Social Studies with an emphasis on political theory and philosophy at Harvard University and a master’s degree in media, language, and performance in international politics at the University of Oxford. During these degrees, she also studied playwriting, comedy directing, and scenography and discovered a passion for writing and directing. She co-founded a theatre company in London and worked as a director and writer for theatre before pivoting to film. Since 2016, she has mentored teenagers in creative writing and social sciences, helping them deconstruct issues, construct narratives and find their voice. Her debut short film/proof of concept BEARCAVE, which she co-directed and co-wrote with Stergios Dinopoulos, won the Golden Dionysus for Best Film at the Drama International Film Festival and it’s now in the final stages of becoming a feature length debut.

Bearcave

**In collaboration with Los Angeles Greek Film Festival**

On May 28, we welcome Los Angeles Greek Film Festival (LAGFF) with three new films from Greece!

[](https://www.lagff.org/)

### LAST TROPICS

*Run Time:* 20 mins

*Release Year:* 2025

[*Trailer*](https://youtu.be/mAkbkAsw49Q?si=9mO9jRyoq8ElCOI9)

As an aquatic malady threatens their forgotten coastal village, three young fishermen resort to illegal dynamite fishing.

Thanasis Trouboukis explores cinema on the fluid border between fiction and documentary. His work questions memory, reality, dreams and the ambiguity between them. He is a graduate of Le Fresnoy – Studio national des arts contemporains in France. His short films have been selected by numerous festivals, among them Oberhausen ISFF, Sarajevo FF, Palm Springs IFF, Hong Kong IFF, CPH:DOX, Vienna Shorts, Encounters FF and Montréal Festival du Nouveau Cinéma. He is currently developing his feature-length directorial debut, supported by Greek Film Centre (GFC), Onassis Culture and Centre national du cinéma et de l’image animée (CNC).

### They Come Out Of Margo

*Run Time:* 76 mins

*Release Year:* 2025

A tender horror flick, an experimental melodrama. Any attempt made to categorise this unconventional cinematic experience seems inadequate. Greek director and musician Alexandros Voulgaris, a.k.a. The Boy, brings us an unusually intimate, yet expressively powerful study of an artist on the brink of middle age. All fears, anxieties and hopes are embodied in the character of Margo, a songwriter who was once famous but who now isolates herself in her apartment. A party held to celebrate her 40th birthday and the emotions that are born there unexpectedly help Margo enter a new stage in her life.

Alexander Voulgaris (Greek: Αλέξανδρος Βούλγαρης) is a Greek film director, screenwriter, composer and actor. Films Voulgaris wrote, directed and scored include Thread, Roz and Higuita. His composing credits include The Last Note, Park and The Sentimentalists, the latter of which garnered him a Hellenic Film Academy Award for “Best Music”. Voulgaris is frequently credited as “The Boy”. He is the son of Pantelis Voulgaris and Ioanna Karystiani.

They Come Out of Margo & Last Tropics

### **ABOUT THE FILM:**

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 ‘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.

FORMAT: DCP

DISTRIBUTOR: Oscilloscope Laboratories

COUNTRY: USA

Q&A with cinematographer David Bolen Official Beyond Fest 2025 Selection

THE PYTHON HUNT

### **ABOUT THE EPISODES:**

**Season 2, Episode 21, “Miss Twin Peaks,” Dir. Tim Hunter, 46 Mins**

Lucy chooses a father for her baby.

FORMAT: DCP

**Season 2, Episode 22, “Beyond Life and Death,” Dir. David Lynch, 50 Mins**

In the series finale, Cooper faces his destiny.

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.

“Miss Twin Peaks” and “Beyond Life and Death” ‘TWIN PEAKS: The Complete Series’

TWIN PEAKS: Season 2, Ep. 21 and 22

This unconventional documentary explores the world of gleaners—people living on the margins who forage what society throws away. Self-reflective in her approach, filmmaker Agnès Varda positions herself as a “gleaner” too. Collecting images and ideas through a handheld camera, Varda ruminates on the formation of cinema, Michelin-star restaurants, and the beauty of heart-shaped potatoes. A later work by a leading voice of the French New Wave, *The Gleaners and I* remains a testament to Varda’s distinct documentary vision.

The Gleaners and I

Now Instant Image Hall

We&#8217;re back again with another dose of 16mm celluloid curiosities &#8211; this time we&#8217;re throwing reason out the window and embracing the strange with a program of late 60s, early 70s groovy kids films that sought to open young minds to a world of imagination. In the late 1960s educational filmmakers started getting groovy and psychedelic with films that took a turn towards the far out and whimsical. While the educational standards of don&#8217;t do drugs or accept candy from strangers remained staples, a new form of creative &#8220;purposeless&#8221; films for kids started to emerge with Encyclopaedia Britannica and other educational film distributors. Weird, fun, and nonsensical, these pointless shorts encouraged creativity over morals, whimsy over shock, and through kid-focused stories and animation sought to foster the imagination with plenty of fun movie magic. This program features 5 Encyclopaedia Brittanica shorts from 1969 as well as two magnificent early short films from the great Joan Micklin Silver &#8211; ***The Case of the Elevator Duck** *(1974) and*** The Fur Coat Club*** (1973) both filled with undeniable glee for any age of cinephile, plus bonus shorts for the early birds! You may think you&#8217;ve outgrown children&#8217;s films, but give yourself over to the wonder of the grooviest period in educational film and let your imagination soar! Everything screened on 16mm film!

Sweet 16mm: Kinder Nonsense

Snake in Eagle's Shadow

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

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

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)

### **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

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

**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

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/

Cosmic Rage: A Fundraiser for the LATU + CSDCLA

2:00 PM

Secrets & Lies

2:00 PM

Black Sunday in 35mm

2:30 PM

CANCELLED: Pool of London

6:30 PM

SCATTERED CLOUDS

3:00 PM

THE SHINING

7:30 PM

¡SERGEI EISENSTEIN MÉXICO! IDOLS BEHIND ALTARS

7:30 PM

F for Fake

6:00 PM

Godzilla vs. Mechagodzilla II

8:30 PM

INTERSTELLAR (2014)(PG-13) Fri 5/15: 7:30 pm; Sun 5/17 @ 3pm & 7:30 pm

LPS @ HML Poetry Open Mic (5/17)

7:00 PM

Fútbol on Film: Diego Maradona's "Hand of God" Match

7:30 PM

THE LINEUP

11:00 AM

LOST BOUNDARIES

1:00 PM

À NOS AMOURS

4:00 PM

Silverlake Scream Show Presents BARBARIAN

7:00 PM

TIKI TIKI

10:00 PM

Frankenstein

2:00 PM

Man on Fire

6:30 PM

Raoul Peck's ORWELL: 2+2=5 (2025)

6:30 PM

The Rescuers Down Under

11:30 AM

Short Films by Athina Rachel Tsangari

4:30 PM

Under the Cherry Moon

7:00 PM

Harvest

7:30 PM

Having a Wild Weekend

10:00 AM

The Rip