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Collage of five diverse artworks from the Hammer Museum Collections side by side. From left to right: 1) Contemporary painting of two embracing figures with surreal elements. 2) Post-impressionist style painting of trees with vibrant blues and greens. 3) Black and white illustration of a face with intricate patterns. 4) Japanese woodblock print style image of a figure in a checkered robe. 5) Photograph of a couple dancing, the woman in a black dress and the man in white

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Still from the film The Whole Shootin' Match (1978) showing a man and a woman looking at each other with concern
Screenings

The Whole Shootin’ Match / Northern Lights

  • This is a past program

The UCLA Film & Television Archive presents classic film and contemporary cinema in the Hammer's Billy Wilder Theater.

Part of the series American Neorealism, Part One: 1948–1984

The Whole Shootin’ Match

Texas independent film legend Eagle Pennell made his feature debut on a shoestring budget with this homespun ode to American dreamers and the small town blues. Longtime friends Frank (Sonny Carl Davis) and Lloyd (Lou Perrymen) try their luck at get-rich-quick schemes while negotiating the daily indignities of being seen by everyone else—including, occasionally, Lloyd’s long-suffering wife–as the local losers. Pennel found the poetry in their plight and helped launch the Austin film scene in the process. (1978, dir. Eagle Pennell, DCP, black and white, 109 min.)

Courtesy of Watchmaker Films.

Northern Lights

The only period piece in the American Neorealism film series, Northern Lights illuminates the still resonant formative years of The Nonpartisan League, the Socialist-inspired political party founded by immigrant farmers in North Dakota at the turn of the century to fight back against the moneyed interests who controlled their economic destinies. Produced by the radical Bay Area film collective Cine Manifest with a mix of professional and non-professional actors, it was a grassroots effort that won the Caméra d’Or at Cannes. (1978, dir. John Hanson, 35mm, black and white, 93 min.)

Print courtesy of Cinema Conservancy.

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