Screening from Series Spotlights
A Woman Is a Woman (Une femme est une femme) in 4K
West Coast Restoration Premiere
Starts at $5
Thu, Mar 6, 2025

Renowned French filmmaker Jean-Luc Godard’s third feature, and his first in color, is an operatic romantic comedy set on the streets and in the cafés and cabarets of a vibrant 1960s Paris. The central story of a dancer (Anna Karina) desperate for a baby her lover (Jean-Claude Brialy) refuses to have with her morphs into a love triangle when his best friend (Jean-Paul Belmondo) offers her the very thing she’s longing for. Godard’s camera is all but magnetized to an effervescent Karina throughout her breakout performance, for which she won Best Actress at the 1961 Berlinale “for a display of qualities rare in a newcomer.” The French New Wave master’s signature halting edits lead to unforgettable scenes ripe with self-awareness—both Karina and Belmondo break the... fourth wall to address the camera within the first five minutes—all carried by composer Michel Legrand’s jaunty score. Over sixty years later, A Woman Is a Woman remains one of the great paradigm-shattering takes on the rom-com.
Programmed and note by K.J. Relth-Miller.
Academy Museum film programming generously funded by the Richard Roth Foundation.
Academy Museum film programming generously funded by the Richard Roth Foundation.
1961 | 85 min | France/Italy | Color | French | Not rated | 4K DCP
DIRECTED/WRITTEN BY: Jean-Luc Godard
WITH: Jean-Claude Brialy, Anna Karina, Jean-Paul Belmondo
Courtesy of Rialto Pictures/STUDIOCANAL. The restoration was produced from the original 35mm negative and sound negative. Scanned in 4K by Hiventy, then color-graded and digitally cleaned to remove imperfections in the original elements. Supervised by StudioCanal’s Sophie Boyer and Jean-Pierre Boiget. Restored with the support of the CNC.
Know Before You Go
Plan your Visit
Location
The Academy Museum and its theaters are located at 6067 Wilshire Boulevard, Los Angeles, CA 90036
Parking
Self-parking, accessible parking, and electric vehicle charging options are available. See below for our parking structure information and view the parking page for further details.
Ride-Share Drop Off
Roddenberry Lane, entrance on Fairfax Ave.
LACMA's Pritzker Parking Garage
6000 W 6th St., Los Angeles, CA 90036, entrance on 6th St.
5am–10pm
$20 ($12 after 8pm entry)
Accessible spots on P1, adjacent to elevators
EV charging stations on P1 and P2Petersen Automotive Museum Garage
744 Fairfax Ave., Los Angeles, CA 90036, entrance on Fairfax Ave. or 8th St.
6am–11pm
$24 (first 15 min. free)
Accessible spots on P1 only; no garage elevator
EV charging stations on P1Accessibility
Audio Description
For visitors who are blind or partially-sighted, audio description devices are available for some digital film screenings on a first-come, first-served basis.
Real-time audio descriptions are available for some performances upon request with at least three weeks’ notice, subject to the availability of describers. Email academymuseum@oscars.org to submit your request.
Closed Captioning
For visitors who are deaf or hard of hearing, in-seat closed captioning or descriptive audio-devices are available for some digital film screenings on a first-come, first-served basis. Please confirm availability at academymuseum@oscars.org before planning your visit.
Real-time captioning is available for programs upon request with at least three weeks’ notice, subject to the availability of captioners. Email academymuseum@oscars.org to submit your request.
Please see our Accessibility page for complete information, including details on our Visual Description Tours, Calm Mornings, and Covid-19 policies.

Screenings
Les vampires (The Vampires)
A form most popular in the early 20th century, a film serial is a story told over a sequence of short episodes, with each piece intended to be viewed before a feature-length film. These bite-size programs were presented weekly in chronological order, addingentertainment and value to a program, and were a common component of the filmgoing experience through the 1940s.
DCP

Screenings
Les vampires (The Vampires)
A form most popular in the early 20th century, a film serial is a story told over a sequence of short episodes, with each piece intended to be viewed before a feature-length film. These bite-size programs were presented weekly in chronological order, addingentertainment and value to a program, and were a common component of the filmgoing experience through the 1940s.
DCP

Screenings
Cluny Brown in 35mm nitrate
“If it makes you happy to feed squirrels to the nuts, who am I to say ‘nuts to the squirrels?’”
Set in London’s high society just before World War II, this effervescent comedy of manners features Oscar-winner Jennifer Jones (The Song of Bernadette) as the uninhibited Cluny Brown, an orphan whose guardian, Uncle Arn, is training her to become a plumber. When she arrives to fix a clogged sink before a cocktail party, philosopher Adam Belinski (Charles Boyer), a noted enemy of the Third Reich, becomes smitten by her unrepressed nature and a game of will-they-or-won’t-they unfolds. Deemed a “masterwork” by comedy aficionado and filmmaker Peter Bogdanovich, this was the last film director Ernst Lubitsch completed during his lifetime, as well as Jones’s first comedic role. Offering the pinnacle of the “Lubitsch touch” through well-appointed sets, farcical misunderstandings, and delightful tête-à-têtes, Cluny Brown skewers high-brow culture with the beloved director’s signature charming wink.
Programmed and note by K.J. Relth-Miller.
35mm Nitrate

Screenings
40th Anniversary of Pee-wee’s Big Adventure in 35mm
Inspired to become a performer by his childhood trips to the circus, the comedic actor Paul Reubens (1952–2023) is most remembered for his beloved role as Pee-wee Herman, an intentionally oblivious, wide-eyed, bow tie–wearing jester first developed at the Los Angeles–based improv and sketch comedy troupe the Groundlings. After a series of stage shows in the early 1980s and a celebrated children’s television program on CBS, Reubens partnered with fellow Groundling Phil Hartman and screenwriter Michael Varholto bring Pee-wee to the big screen with first-time feature director Tim Burton.
In Pee-wee’s Big Adventure, the titular character’s most prized possession is his red bicycle; he refuses to sell it even to his wealthy neighbor, Francis. When the bike is suddenly stolen, Pee-wee is relentless in his search to get it back, even embarking on a road trip across the country after given a phony tip. This charmingly quirky film marked Burton’s first collaboration with composer Danny Elfman, then front man for the popular new wave band Oingo Boingo.
Programmed and note by K.J. Relth-Miller.
35mm