MyUCLA

UCLA Financial Aid & Scholarships will be closed on Monday, May 25, 2026, in Observance of the Memorial Day holiday. We will resume regular operating hours on Tuesday, May 26, 2026. Location: A129 Murphy Hall

Feel free to drop by and chat with RISE Health and Wellbeing Coordinator! Whether you want to discuss campus mental health resources, get connected to CAPS, manage academic stress, or just need someone to talk to, we're here for you. Location: RISE Center at Lu Valle Commons Basement Level

Join UCLA Financial Aid & Scholarships for a one-hour interactive workshop designed to help newly admitted students and their families better understand their financial aid offer and estimated net cost of attendance. During this hands-on session, a UCLA financial aid expert will walk you through the key parts of your Bruin Financial Aid Letter, explain the different types of aid offered, and demonstrate how to calculate what attending UCLA may actually cost after grants, scholarships, and other support. Please complete the RSVP form below to join us!

Beginner-friendly stretching and meditation with UCLA Rec Instructor Binny. All equipment provided (yoga mats, blocks). Location: RISE Center at Lu Valle Commons Basement Level

TEDx proudly returns to UCLA, celebrating UCLA students, alumni, staff, faculty, community, and impact. Please stay tuned for further details on the event! #Educational Location: UCLA Northwest Auditorium

TEDx proudly returns to UCLA, celebrating UCLA students, alumni, staff, faculty, community, and impact. Please stay tuned for further details on the event! Location: UCLA Northwest Auditorium

UCLA F-1 visa students, do you want to know more about off-campus employment authorization? Join us on one of our weekly CPT webinars hosted by the Dashew Center staff to learn more! Location: https://ucla.zoom.us/j/95322790676

Are you looking for a safe and supportive space to practice your English conversation skills? Check out Dashew Center's English Language Circle (ELC)! Here you will have an opportunity to practice your English with other language learners. The circle is led by a native English speaker, who will help you become more confident in your speaking skills and who can answer your language and grammar questions. All of our ELC sessions will take place on Zoom this spring 2026. Space is limited to 20 participants per session. Participants are welcome to enjoy their lunch during these sessions. The Zoom link will be shared via email upon registering. Please email us at intlprograms@saonet.ucla.edu with any questions.

Feel free to drop by and chat with RISE Health and Wellbeing Coordinator! Whether you want to discuss campus mental health resources, get connected to CAPS, manage academic stress, or just need someone to talk to, we're here for you. Location: RISE Center at Lu Valle Commons Basement Level

In this session, participants will explore how modernized classroom spaces can engage students and support meaningful active learning. Through guided practice and reflection, attendees will examine how flexible classroom layouts and integrated technologies support pedagogical goals. Participants will engage in hands-on experiences designed to foster collaboration, deepen content processing, increase student engagement, and promote inclusive participation. Attendees will leave with practical ideas for creating dynamic, student-centered learning environments in their own courses. This session is designed for graduate students, TAs, and postdocs. All instructors are welcome to attend. What is Practice and Play with EdTech The Practice and Play with EdTech series offers instructors a hands-on opportunity to explore teaching tools and strategies with TLC staff. Each session begins with a brief overview of a tool followed by a guided exercise and time to explore and apply the tool to participants’ own course Location: Powell 186

The Queer Creative Writing Space meets bi-weekly during the academic year. This space is for writers of all backgrounds and experience levels who would like to stretch their creative writing muscles and meet other writers!

Join us to celebrate our graduating UCLA Transfers! Stop by anytime at the event to pick up and decorate your free transfer cords, customize your grad cap, and enjoy tacos & agua frescas! The dress code is semi-formal, but if you are coming from class feel free to come as you are. Location: James West Alumni Center

The Ace and Aro Space is a weekly dialogue and affinity space wanting to build community or learn more about the asexual and/or aromantic spectrums. Location: LGBTQ Campus Resource Center

This workshop gives an overview of organization, time management, writing process issues and writing strategies. Recommended for people in the early stages of the dissertation, but useful for all stages.

Join in on UAN’s End of Year Celebration for resources, games, snacks, prizes, and MORE! Location: Tipuana Courtyard and Multi-Purpose Room

Neurodiversity Empowerment Hour is a weekly virtual drop-in space where students can join a brief 10–15 minute session to receive support, learn about helpful campus resources, and explore ways to build skills for wellbeing and success. Location: https://ucla.zoom.us/j/91475273736

10:00–11:30 AM - Sound Rezistance Session Gregg Deal + Native Audio 11:30–1:00 pm - Lunch and Pedal Demo 1:15–2:15 - Rez Metal-Indigenous Punk Session 3:00 PM - Reception in the Courtyard 5:00 PM - Rez Metal Pop up show Location: Fowler Museum, Room A222

Join us for a beginner friendly guided meditation. Take some time to breathe, meet community, and practice mindfulness, spirituality, and stillness. Location: RISE Center at Lu Valle Commons Basement Level

Feel free to drop by and chat with RISE Health and Wellbeing Coordinator! Whether you want to discuss campus mental health resources, get connected to CAPS, manage academic stress, or just need someone to talk to, we're here for you. Location: RISE Center at Lu Valle Commons Basement Level

This workshop will offer an overview on the entire systematic review process — from hypothesis to publication, and why it takes so long to conduct one! Attendees will leave with concrete steps to take to plan a systematic review, as well as an understanding of systematic review methodology and how it differs from other types of review articles. This workshop will be offered via Zoom. If you're registered, you'll receive the Zoom invitation information the day of the workshop. Instructor: Robert Johnson, Clinical and Research Support Librarian

About the book: What if we could start over and build the Internet from scratch? How could it be rebuilt or reimagined as more equitable and just? For more than eight years, Britt S. Paris investigated alternative Internet infrastructure projects, conducting interviews, site visits, and policy analysis. In this expansive and interdisciplinary study, Paris critically examines the myriad and contradictory promises, utility, and obstacles to building a completely new Internet. Radical Infrastructure locates and analyzes the boundaries of how people and groups imagine, build, deploy, maintain, and use the Internet as they survive—and even dare to thrive—in challenging political, economic, and environmental contexts. Ultimately, Paris encourages active reflection among scholars, policymakers, and activists and reveals more grounded imaginaries, tactics, and opportunities for future people-centered projects. Location: DataX Impact Forum, 3312 Murphy Hall

Join UCLA Financial Aid & Scholarships for a one-hour interactive workshop designed to help newly admitted students and their families better understand their financial aid offer and estimated net cost of attendance. During this hands-on session, a UCLA financial aid expert will walk you through the key parts of your Bruin Financial Aid Letter, explain the different types of aid offered, and demonstrate how to calculate what attending UCLA may actually cost after grants, scholarships, and other support. Please complete the RSVP form below to join us!

Looking for a calm and creative way to end your week? Grab a cup of tea and join Creative Reset, a weekly hour of creative wellness, to slow down, enjoy arts and crafts, and recharge before the weekend. Each week may include a guided art or craft activity, open time to create, journal, draw, or color at your own pace, and occasional reflective writing prompts to spark creativity and support your wellness. No experience is needed, and all UCLA students are welcome! Location: RISE Center at Lu Valle Commons Basement Level

Katharina N. Piechocki, Associate Professor in the Department of French, Hispanic and Italian Studies at The University of British Columbia, Vancouver, presents "Somatmospheres: Atoms, Ambiance, and Nascent Sky Bodies in the Work of Athanasius Kircher, María de Jesús de Ágreda, and Sor Juana." This Zoom talk brings into a Transatlantic dialogue three seventeenth-century writers who explored sky bodies through the joint lens of science, poetic thought, and religion, recurring to what was then a relatively new vocabulary, such as “atmosphere” or “ambiance”. Location: https://www.1718.ucla.edu/events/ems-piechocki-zoom/

Join the UCLA LGBTQ CRC every Friday at noon to watch queer films and TV! Snacks and art supplies will be provided. No RSVP required! Location: LGBTQ Campus Resource Center

Feel free to drop by and chat with RISE Health and Wellbeing Coordinator! Whether you want to discuss campus mental health resources, get connected to CAPS, manage academic stress, or just need someone to talk to, we're here for you. Location: RISE Center at Lu Valle Commons Basement Level

The QTBIPOC Space is an intentional space for all folks of different and similar lived experiences to build community, decompress, and practice collective care. Location: LGBTQ Campus Resource Center

Join the UCLA School of Theater, Film and Television for an engaging look at the future of vertical storytelling. This event features an industry panel on the creative and business dimensions of vertical content, from evolving audience engagement to new storytelling approaches in a mobile-first world and showcases the verticals made by UCLA TFT students as part of the Dean’s PICTURE START initiative, which touches new genres with our signature approach of independence, innovation and impact. Be part of the conversation shaping the next generation of content. 6:30 PM PANEL 1: THE BUSINESS OF VERTICALS Moderated by Celine Zen, RealReel Speakers: ALEX MONTALVO/Co-founder & CCO – GAMMATIME JOHN LEWIS/Founder – MUVPIX TOMMY HARPER/Founder & CEO – VEYOU 7:30 PM PANEL 2: THE CREATIVE OF VERTICALS Moderated by Dean Celine Shimizu, Dean UCLA School of Theater, Film and Television Speakers: HAN CHOI – Us Content Lead – VIGLOO ROBIN TANG – Adviser, Content & Strategy – COL GROUP DJ AZUL – Writer – DRAMA BOX, REELSHORTS ASHLIN YU – Head of Development, SHORTIES STUDIOS 8:30 PM PANEL 3: STUDENT SHOWCASE – VERTICAL PILOTS Screening of 3 student Vertical pilots with discussion Moderated by George Huang, UCLA FTVDM 9:30 PM Reception Location: James Bridges Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office will open one hour before the event. Introduction by Archive Director May Hong HaDuong. Q&A with writer J. E. Franklin. Screening 1 of 2 Hearst Metrotone News: "Porgy & Bess Opening" (excerpt) Year: 1959 Country: U.S. Runtime: 2 min. Digital. B&W. Silent. Screening 2 of 2 Black Girl Year: 1972 Country: U.S. Language: English Runtime: 97 min. Digital. Color. 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. Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office will open one hour before the event. Introduction by Josslyn Luckett, Associate Professor, Cinema Studies Tisch School of the Arts, New York University ...& Beautiful Year: 1969 Country: U.S. Language: English Runtime: 60 min. Digital. Color. 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. Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. The box office will open 30 minutes before the screening. Seats will not be assigned. Introduction by animation historian Jerry Beck and Senior Film Preservationist Miki Shannon. Screening 1 of 3 The Mouse of Tomorrow Year: 1942 Country: U.S. Runtime: 6 min. Digital. Color. 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. Screening 2 of 3 Copy Cat Year: 1941 Country: U.S. Runtime: 6 min. 35mm. 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. Screening 3 of 3 Adventures of Casanova Year: 1948 Country: U.S. Runtime: 83 min. Digital. B&W. 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: Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by Associate Motion Picture Curator Steven K. Hill. Screening 1 of 4 Hearst Metrotone News: “Famous Wind-jammer Wrecked on British Coast” Year: 1936 Country: U.S. Language: English Runtime: 30 sec. Digital. Screening 2 of 4 Hearst Metrotone News: “U.S. Ambassador Has John Bull All Excited” Year: 1938 Country: U.S. Language: English Runtime: 1 min. Digital. Screening 3 of 4 Hearst Metrotone News: “??Town Criers’ Championship” Year: 1953 Country: U.S. Language: English Runtime: 1 min. Digital. Screening 4 of 4 Lorna Doone Year: 1922 Country: U.S. Language: English Runtime: 81 min. Digital. B&W and tinted/toned. Silent. 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 funded 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. Location: Billy Wilder Theater

The Bruin Underground Scholars (BUS) End of Year Celebration is a gathering to honor and celebrate the accomplishments, resilience, and leadership of formerly incarcerated and system-impacted scholars at UCLA. This event brings together students, campus partners, families, and community members to recognize the journeys and achievements of our scholars throughout the academic year. Location: Tom Bradley International Hall Room 300

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by Head of Preservation Jillian Borders and Women’s Film Preservation Fund co-chair and restoration consultant Kirsten Larvick. Q&A with co-director Gini Reticker. the heart of the matter Year: 1994 Country: U.S. Language: English Runtime: 56 min. Digital. Color. 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 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. Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by animation historian Jerry Beck and Senior Film Preservationist Miki Shannon. Screening 1 of 3 Way Back When a Triangle Had Its Points Year: 1940 Country: U.S. Runtime: 8 min. Digital. B&W.  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. Screening 2 of 3 The Nutty Network Year: 1939 Country: U.S. Runtime: 6 min. Digital. Color. 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. Screening 3 of 3 Merrily We Live Year: 1938 Country: U.S. Runtime: 95 min. Digital. B&W. 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 Arch Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by Head of Preservation Jillian Borders. The Magnificent Matador Year: 1955 Country: U.S. Language: English Runtime: 95 min. Digital. Color. 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. Location: Billy Wilder Theater

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by Eddie Muller, founder and president of the Film Noir Foundation. Si muero antes de despertar (If I Should Die Before I Wake) Year: 1952 Country: Argentina Language: Spanish with English subtitles. Runtime: 72 min. Digital. B&W. 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. Location: Billy Wilder Theater

World premiere of new preservations! Part of the 2026 UCLA Festival of Preservation led by the UCLA Film and Television Archive. 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. Introduction by UCLA distinguished professor Chon Noriega, School of Theater, Film and Television, and processing conservator Yesenia Perez. Location: Billy Wilder Theater, UCLA Hammer Museum

Part of the 2026 UCLA Festival of Preservation. Free admission. No advance reservations. Ticketing is on a first come, first served basis. Seats will not be assigned. Introduction by UCLA Distinguished Professor Chon Noriega, School of Theater, Film and Television, and Processing Conservator Yesenia Perez. Co-presented by the UCLA Chicano Studies Research Center. 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 Screening 1 of 4 That's Too Much Year: 1996 Country: U.S. Language: Swedish with English subtitles Runtime: 6 min. Digital. B&W. 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. Screening 2 of 4 Ring Ring Ragtime Year: 1996 Country: U.S. Language: Italian with English subtitles Runtime: 12 min. Digital. B&W and color. 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. Screening 3 of 4 Busy Bodies Year: 1997 Country: U.S. Runtime: 9 min. Digital. B&W and color. 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. Screening 4 of 4 It's Coming Up Year: 1997 Country: U.S. Runtime: 5 min. Digital. B&W and color. 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. Location: Billy Wilder Theater