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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 opens one hour before the event.\u003C/strong>\u003C/p>\n\n\u003Cp>In person: Introduction by UCLA AMIA Student Chapter Programmer Noah Brockman. Q&amp;A with directors Greg Watkins and Caveh Zahedi.\u003C/p>\n\n\u003Cp dir=\"ltr\">This program explores how reenactment exposes cinema’s inherent nature to simultaneously depict, reconstruct and reinterpret. In these films, our subjects perform their own stories, exploring the productive tensions between reality, art and representation on-screen.\u003C/p>\n\n\u003Cp dir=\"ltr\">\u003Cem>Programmed by Noah Brockman.\u003C/em>\u003C/p>\n\n\u003Cp dir=\"ltr\">Screening 1 of 2\u003C/p>\n\n\u003Ch2 dir=\"ltr\">Hats Off to Hollywood\u003C/h2>\n\n\u003Cp dir=\"ltr\">\u003Cstrong>Year: \u003C/strong>1972\u003Cbr />\n\u003Cstrong>Country: \u003C/strong>U.S.\u003Cbr />\n\u003Cstrong>Language: \u003C/strong>English\u003Cbr />\n\u003Cstrong>Runtime: \u003C/strong>22 min.\u003Cbr />\n16mm. Color.\u003C/p>\n\n\u003Cp dir=\"ltr\">Penelope Spheeris’ 1972 UCLA thesis film features Jennifer Michaels and Dana Reuben in Warholian docufiction. Fascinated by society’s degenerates, Spheeris employs loosely scripted reenactment as critique. Turning tricks, seducing trade and performing gender, Michaels and Reuben mock straight culture from its fringes. Michaels, an iconic trans actress who worked with Pat Rocco on \u003Cem>Sex and the Single Gay\u003C/em> (1970) and starred in \u003Ca href=\"https://youtu.be/qm8gZq8FC1A\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>Changes\u003C/em>\u003Cspan class=\"visually-hidden\">(opens in a new tab)\u003C/span>\u003C/a> (1970), lends a particularly notable performance. The film was preserved by the Academy Film Archive in 2012.—\u003Cem>Wilde Davis\u003C/em>\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Penelope Spheeris. With: Dana Reuben, Jennifer Michaels.\u003C/p>\n\n\u003Cp dir=\"ltr\">Screening 2 of 2\u003C/p>\n\n\u003Ch2 dir=\"ltr\">A Little Stiff\u003C/h2>\n\n\u003Cp dir=\"ltr\">\u003Cstrong>Year: \u003C/strong>1991\u003Cbr />\n\u003Cstrong>Country: \u003C/strong>U.S.\u003Cbr />\n\u003Cstrong>Language: \u003C/strong>English\u003Cbr />\n\u003Cstrong>Runtime: \u003C/strong>86 min.\u003Cbr />\nDigital. B&amp;W.\u003C/p>\n\n\u003Cp dir=\"ltr\">\u003Cem>A Little Stiff\u003C/em> doesn’t end where it begins so much as it ends where it’s conceived. In this precursor to Caveh Zahedi’s later autobiographical present-tense documentaries, the cast play themselves as they reenact roughly the same unrequited infatuation between Zahedi and McKim that led to the film’s own production. As Zahedi wanders around UCLA’s Arts building, feeds peanuts to squirrels with his friend Greg Watkins, and plunges himself further into a state of longing, we observe the mundanities and ecstatic moments of Zahedi’s spiral through intensely naturalistic performances. Shot on a shoestring budget, \u003Cem>A Little Stiff\u003C/em> feels like a mumblecore \u003Cem>The\u003C/em> \u003Cem>Sorrows of Young Werther.—Noah Brockman\u003C/em>\u003C/p>\n\n\u003Cp dir=\"ltr\">Directors: Greg Watkins, Caveh Zahedi. Screenwriters: Greg Watkins, Caveh Zahedi. 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