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UCLA Film and Television Archive

Restoring Insanity: How the American Genre Film Archive is Saving the History of Exploitation Cinema

A month-long series in Los Angeles honors the horror and exploitation specialists that have amplified voices outside the mainstream — and given a new lease on life to the films that have all the best death scenes.

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Jorge Jellinek in Federico Veiroj's "A Useful Life"

Summer in the City To Live and Screen in L.A.

When Pharmaceutical Companies Own the Rights to Your Favorite Film & Other Job Hazards: LA Film Programmers Tell All

Programmers from the Academy, Drafthouse LA, Cinefamily and UCLA gathered at the Hammer to talk shop and spill secrets on how and why certain films play in LA and others don't.

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To Live and Screen in L.A.

Interview: KJ Relth on Creating a Real Power Point with “Working Girls: America’s Career Women on Screen”

On how a survey of the depiction of female professionals in 20th century cinema became personal for the UCLA Film and TV Archive programmer.

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Craig Chester, Illeana Douglas and Carlton Wilborn in "Grief"

To Live and Screen in L.A.

Richard Glatzer and His Cast on the Good Done By “Grief” 20 Years Later

The "Still Alice" co-director and the cast of his first feature reflect on the dramedy shot at the height of the AIDS epidemic at a reunion event at UCLA.

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Edson Oda on Making Memories in “Nine Days”

Joshua Leonard and Jess Weixler on Kidding Around While You Can in “Fully Realized Humans”

Braden King on Looking to the Land for Opportunity in “The Evening Hour”

Cannes 2021 Review: A Cartel Leaves a Community on Edge in Tatiana Huezo’s Absorbing “Prayers for the Stolen”

Cannes 2021 Review: Na Jiazuo’s “Streetwise” Takes the Road Less Traveled

Cannes 2021 Review: The Present Takes On Unexplored Dimensions in Saul Williams and Anisia Uzeyman’s Wondrous “Neptune Frost”

Matt Damon: A Career in Cameos

Five Movie Marketing Miscues That Blew Up in All the Wrong Ways

Justin Lin on “Tokyo Drift” and the Four Hours That Saved the
“Fast & Furious” Franchise

“Every Day Was Like, ‘How Do We Pull This Off?'” Martin Brest on “Midnight Run”

How to Be a Los Angeles Cinephile in 2020 – Even If You’re From Outside of Town

ARRAY is Making It An Extra-Super Tuesday in L.A. with the “For the People” Free Movie Marathon

Joshua Leonard and Jess Weixler on Kidding Around While You Can in “Fully Realized Humans”

Maria Gabriela Cardenas on a Family Affair Full of Fear in “A Dark Foe”

Tribeca 2020 Review: An Ex-Con Can’t Just Pick Up Where Life Left Off in Sabrina Doyle’s Lovely Drama “Lorelei”

“Every Day Was Like, ‘How Do We Pull This Off?'” Martin Brest on “Midnight Run”

Braden King on Looking to the Land for Opportunity in “The Evening Hour”

UCLA Film and Television Archive

Restoring Insanity: How the American Genre Film Archive is Saving the History of Exploitation Cinema

When Pharmaceutical Companies Own the Rights to Your Favorite Film & Other Job Hazards: LA Film Programmers Tell All

Interview: KJ Relth on Creating a Real Power Point with “Working Girls: America’s Career Women on Screen”

Richard Glatzer and His Cast on the Good Done By “Grief” 20 Years Later

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Joe Carnahan Talks About the Alternate Ending He Shot For “The Grey”

Interview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”

Playing God: 13 Actors Who Dared To Be the Deity in Movies