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Tickets: http://laemmle.com/film/conformist | Subscribe: http://bit.ly/3b8JTym | Bernardo Bertolucci’s breakthrough movie, The Conformist, is based on the celebrated novel by Alberto Moravia and was nominated for an Oscar for Best Adapted Screenplay of 1971. Set in the 1930s, the film explores the psychological roots of fascism as the main character, Marcello Clerici (Jean-Louis Trintignant), tries to expunge his artistic and homosexual inclinations by conforming to the brutally repressive mores of the times. "Bertolucci's masterpiece." (Village Voice)

Tickets: http://laemmle.com/film/conformist

RELEASE DATE: 2/3/2023
Director: Bernardo Bertolucci
Cast: Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Dominique Sanda, Pierre Clémenti

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

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Tickets: http://laemmle.com/film/filmmakers-prosecution-nuremberg-its-lesson-today | Subscribe: http://bit.ly/3b8JTym | FILMMAKERS: Near the end of WWII, filmmaker John Ford, head of the Field Photographic Branch of OSS, assigns the Schulberg brothers to carry out a special mission: track down German footage and photographs of Nazi atrocities in order to convict the leaders scheduled to stand trial. Screening w/NUREMBERG: ITS LESSON FOR TODAY: One of the greatest courtroom dramas in history, the film shows how  prosecutors built their case against Nazi war criminals using their own films and records.

Tickets: http://laemmle.com/film/filmmakers-prosecution-nuremberg-its-lesson-today

RELEASE DATE: 2/3/2023
Director: Jean-Christophe Klotz (FILMMAKERS) & Stuart Schulberg (NUREMBERG)

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

Subscribe to Laemmle's E-NEWSLETTER: http://bit.ly/3y1YSTM
Visit Laemmle.com: http://laemmle.com
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Tickets: http://laemmle.com/film/geographies-solitude | Subscribe: http://bit.ly/3b8JTym | An immersion into the rich ecosystem of Sable Island, a remote sliver of land in the Northwest Atlantic, the film follows Zoe Lucas, a naturalist and environmentalist who has lived there for over 40 years collecting, cleaning and documenting marine litter that persistently washes up on the island's shores. Shot on 16mm and created using eco-friendly filmmaking techniques, Geographies of Solitude is a playful and reverent collaboration with the natural world filled with arresting images and made with an activist spirit.

Tickets: http://laemmle.com/film/geographies-solitude

RELEASE DATE: 2/13/2023
Director: Jacquelyn Mills

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

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Laemmle Theatres

2 weeks ago

Laemmle Theatres
TOMORROW is #NationalPopcornDay, and we'll be offering ⭐ ONE FREE POPCORN ⭐ w/purchase of any beverage all day to celebrate! So Pop In!Here's a kernel of wisdom for you: Want free popcorn every Thursday? Become a Premiere Card holder for $3 off theatre tickets*, 20% off concessions, $6 Tuesdays and one free popcorn every Thursday!laemmle.com/premiere#laemmle #discounts #freepopcorn ... See MoreSee Less

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3 weeks ago

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Please join Greg Laemmle tomorrow at the 1pm show of Only In Theaters for a Q&A at Laemmle Claremont 5, hosted by David Allen of the Inland Valley Daily Bulletin"Claremont 5 remains threatened by weak ticket sales. Laemmle says he’ll give his easternmost theater one year to turn around." ... See MoreSee Less

Laemmle calls off sale of Claremont 5 theater but needs more moviegoers

www.dailybulletin.com

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1 month ago

Laemmle Theatres
⭐HAPPY NEW YEAR and THANK YOU! ⭐Thank you for all your #laemmlelove and support in 2022! We ended the year with a wonderful turnout for our annual Fiddler Sing-Along and are welcoming 2023 with many more powerful films! Also, there is still time to catch the best films of 2022! Tickets at laemmle.com ... See MoreSee Less

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Home » Director's Statement » Page 2

“Mind-bending, hammed-up, highly paced, farcical, funny, and suspenseful dark fairy tale” ’18 1/2′ coming soon.

May 18, 2022 by Jordan Deglise Moore

Dan Mirvish Guest Blog for Laemmle Theaters:

I’m thrilled and honored to be bringing my newest film, 18½ back to my filmmaking home in LA, Laemmle Theaters! 18½ is about a White House transcriber who tries to leak Nixon’s 18½-minute gap to the press, but runs afoul of hippies, swingers and nefarious forces. It stars Willa Fitzgerald (Reacher), John Magaro (Kelly Reichardt’s First Cow and Cannes competition Showing Up), Vondie Curtis Hall (Harriet), Richard Kind, Catherine Curtin and the voices of Ted Raimi as Gen. Al Haig, Jon Cryer as HR Haldeman and Bruce Campbell as Richard Nixon.

The film is having its L.A. Premiere at the Laemmle Monica, on May 27th and screening for a week there, with bonus screenings at the Glendale on May 31 and NoHo7 on June 1, with guest Q&As for most of the screenings.  After winning audience and jury awards and screening at some 21 film festivals on four continents over the last few months, it’s very exciting to finally bring the film to the greater Los Angeles community.

My history with Laemmle theaters goes back to 1995 when my first film, Omaha (the movie) screened for 11 straight weeks. Whether I was showing up at the old Sunset 5 wearing a sandwich board, or throwing raw steaks at the audience, I was buoyed in my efforts by Bob and Greg Laemmle, who not only tolerated but encouraged my indie film shenanigans. The Laemmle family support of independent film in the heart of Los Angeles has proved time and time again that Hollywood is more than just big budget studio superhero films and streaming “content.” Laemmle Theaters are truly one of the last bastions of support for independent filmmaking in the belly of the beast. We are all indebted to their decades-long support of all our films, and our ability to share them with audiences and engage in a uniquely live cinematic conversation.

As a filmmaker who lives a block south of the biggest studios in the world (so, technically they’re in my shadow), 18½ was largely produced during the pandemic with the incredible support and help of my Culver City neighbors, family and friends – for whom I baked sourdough bread as barter for music cues, VFX shots, cameras, posters and sound mixing. I’m looking forward to seeing many of them at our screenings, and I know you’ll love meeting such amazing collaborators as composer Luis Guerra, featured vocalist Caro Pierotto, and so many other talented artists who will be joining me for our Q&As.  If it takes a village to make a film, it takes a village idiot like me to make one in the middle of a pandemic!

But don’t take my word on why you should see the film. I’m thrilled and humbled by all the fantastic reviews we’ve been getting…

“18½ is a rare find in the current landscape of filmmaking, an original story that draws you in from the opening frame…18½ is weird, engrossing, and thoroughly enjoyable.” – Susan Leighton, ScreenAnarchy

“18½ is a mind-bending, hammed-up, highly paced, farcical, funny, and suspenseful dark fairy tale. This makes it a timeless curveball aimed to hit the strike zone of our minds.” – Lloyd Sederer, M.D., Psychology Today 

“Mirvish’s film is a fun and eccentric outing, relishing in the “what ifs” of alternate political history; a much-needed breath of fresh air when taking on politics in today’s charged climate.” – Sammy Levine, Hammer to Nail

“18½ is so riveting and immersive that I forgot I was making a cup of tea and found a cup of cold, over-steeped leaf water after the final credits rolled.” – Jamie Toth, The Somewhat Cyclops

Looking forward to seeing you at Laemmles and talking about 18½!

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Filed Under: Director's Statement, Filmmaker in Person, Films, Glendale, NoHo 7, Q&A's, Santa Monica, Theater Buzz

Searing, prescient French abortion drama ‘Happening’ arrives just in time.

May 11, 2022 by Jordan Deglise Moore

Opening just as the expected but still shocking news broke that the Republican appointees to the Supreme Court are ready to begin clawing back women’s rights within a few weeks, Happening could not be more timely or galvanizing. As Mark Olsen wrote recently in the L.A. Times, “Happening is set in 1963 and yet it suddenly feels like a possible window into the future. Directed by Audrey Diwan, who co-wrote the adaptation of Annie Ernaux’s autobiographical novel of the same name, the film follows a young French college student Anne (Anamaria Vartolomei) as she attempts to get an abortion after discovering she is pregnant. Though abortion became legal in France in 1975, in 1963 it very much was not, with potential prison time for the woman, whoever performed the procedure and anyone who helped. Isolated from her friends and family, Anne becomes increasingly driven as the weeks pass by to find a solution to her problem — anything that will allow her to continue on with her life as she planned and fulfill her goal to become a writer…In an emailed statement, Diwan responded to the recent news [from SCOTUS], writing, “The purpose of art is also to bring to light some hidden truths. We all know, time has proven it, that when abortion becomes illegal, women who feel the need for it find other solutions. And not safe ones. I think that those who want to intervene in the abortion debate, whether for or against, should at least know clearly what a clandestine abortion is. We cannot talk about what we don’t know. And I include myself here: before reading Happening, I participated in this conversation for a long time without knowing … I was wrong. We should all know, this must not stay silent.'”

 

Happening was a critical, commercial and cultural phenomenon in its native France, where it opened in the autumn. The New York Times recently published a piece headlined “In France, a Film Has Women Sharing Their Stories of Abortion: Following the release of Happening, about an illegal abortion in 1963, the country’s contemporary stigma around the procedure is facing scrutiny.” The lede: “Happening, Audrey Diwan’s film about a 1960s back-street abortion in France, isn’t for the fainthearted. In fact, audience members have fainted at several screenings, including at the Venice Film Festival last September, where it won the Golden Lion. ‘It’s often men who say the experience took them to the limit of what they could bear,” Diwan said in a recent interview, “because they had never imagined what it might be like.’…Happening, which aims for a sense of immediacy onscreen, has led artists and activists to speak up about the taboo they feel still surrounds the procedure. ‘There is this constructed social shame that women are meant to feel, Diwan said, ‘and the sense that if we talk about it, we take the risk of calling into question this right, which in the end is never assured.’ In response to Happening, last December, the French feminist magazine Causette devoted a cover story to testimonies from 13 celebrities, under the title: “Yes, I Had An Abortion.” The author Pauline Harmange, who rose to international prominence last year with her debut book “I Hate Men,” also published an essay in March about her own experience, “Avortée” (“Aborted”).”

Some of the abundant praise for Happening:

“Magnificently written, directed, shot and performed, it reminds you that cinema can be such a powerful medium of empathy.” – Zhuo-Ning Su, Awards Daily

“It’s hard to think of a film more necessary in the current moment.” – David Jenkins, Little White Lies

“Deftly adapted by director Audrey Diwan from a novella, Happening is a period piece, but it’s acted and shot with a shivery immediacy.” – Robbie Collin, Daily Telegraph UK

Audrey Diwan

We open Happening at the Claremont, Newhall, Playhouse and Town Center this Friday, May 13 and at the Monica Film Center, Glendale and NoHo on May 20.

https://www.youtube.com/watch?v=7ZlxhX9F25M

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Filed Under: Claremont 5, Director's Statement, Featured Films, Featured Post, Films, Glendale, Newhall, NoHo 7, Playhouse 7, Press, Santa Monica, Theater Buzz, Town Center 5

Stand with Ukraine through Film: THE GUIDE and Ukraine War relief.

March 16, 2022 by Jordan Deglise Moore

We all know of the tragedy that is happening in Ukraine because of the Russian invasion.  Thousands of civilians are dying in the streets while as of today 3,000,000 people are fleeing the country.

Film exhibitors around the country want to do their small part. Working with filmmaker Oles Sanin, who is currently in Ukraine, we have banded together to screen his 2014 Ukrainian film The Guide and will donate 100% of the proceeds to help his fellow Ukrainians. We’ll begin screening the film this Friday at the Monica Film Center. The Guide follows an American boy named Peter and and a blind minstrel, Ivan, who are thrown together by fate during the Stalin-perpetrated genocide in 1930s Ukraine.

Here’s the official website: STAND WITH UKRAINE THROUGH FILM

Here is a message from the director that will precede the screenings:

https://www.youtube.com/watch?v=7ea5wsqA6xI

Here is the film’s trailer:

https://www.youtube.com/watch?v=CxoWXxdKSZA

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Filed Under: Charity Opportunity, Claremont 5, Director's Statement, Featured Post, Films, Glendale, Newhall, News, NoHo 7, Playhouse 7, Royal, Santa Monica, Special Events, Theater Buzz, Town Center 5

“Solidarity is a magnificent way to reinvent oneself.” Catherine Frot on her role in THE ROSE MAKER, opening April 1 at the Playhouse and Royal.

March 16, 2022 by Jordan Deglise Moore

The French rightly pride themselves on their artisanal traditions, from fine wines to bread, cheeses and more. That storied culture is increasingly at odds with modern, massive corporations trying to maximize profits, which can radically reduce quality. (This recent Guardian story about baguettes is a case in point.) The “lovingly made light drama” The Rose Maker dramatizes this dynamic. The film follows Eve, one of France’s greatest artisanal horticulturalists, whose rose business is on the brink of bankruptcy. When her secretary hires three inexperienced ex-convicts, they must team up to rescue the business in this verdant comedy. The movie is “a tender dramedy about apprenticeship, striving for excellence, and the passing down of savoir-faire.” (City of Lights, City of Angeles Film Festival)

Lead actress Catherine Frot was recently interviewed about her work on the film:

Q: What attracted you to The Rose Maker?

A: I was initially drawn to the character’s personality and also her arc: that of a woman who was a glory in her profession, who is no longer a glory but who will nevertheless experience a rebirth by accepting the help of people who have also hit rock bottom. People who are in trouble, locked in their solitude but who, despite their differences, end up finding their salvation in solidarity. I was first touched by the social dimension and the humanity of The Rose Maker. And then I realized that the roses were very important in the charm of this tale of helping hands, that they were even essential, that they gave it an indescribable poetry and a heady perfume. I must admit that I didn’t pay much attention to these flowers before. The film introduced me to them. I feel like I’ve made an extraordinary journey into an unknown land. I no longer look at roses in the same way. I know what their beauty requires in terms of care and know-how and today they touch me and make me dream.

Q: Let’s get back to Eve.

A: For an actress, Eve is an irresistible character, because she is so complex and will evolve so much. At the start of the film, she is proud, upstanding, courageous, closed in on herself; a sort of uptight but bruised boss lady who only keeps going thanks to her “monomaniacal” passion for roses. She was a queen in her field, stronger competitors have taken her crown, and yet she continues to fight for the survival of her business with quite incredible panache. Eve is a bit like an oak. On the surface, she is as solid as a rock, and yet she is weakened by wounds she believes to be invisible: the death of her father, the decline of her business and… the anonymity into which she has fallen. The unexpected arrival of three people in search of identity and social integration is enough to make this stubborn woman give up, question herself, and let a feeling develop in her that, as a childless woman, she thought she would never be able to experience: that of passing something on. Playing someone who comes out of her shell and transforms herself is always exciting, all the more so if, as is the case here, she is driven by an exclusive and totally disinterested passion. In a certain way, Eve “takes after” roses. She lives only for the perpetuation of beauty, something completely useless, fleeting, obsolete and yet fundamental and primordial. Eve undergoes a sort of spiritual quest which borders on poetry and which also gives rise, at times, to a certain humor.

Q: Eve is an artisan. While her work is based on taste and intuition, it also requires skill, meticulousness and precision. Playing her required learning quite a few things. Did this add to your desire to take the part?
A: Oh yes! I love to give the illusion on screen that I have mastered skills that I don’t have in everyday life. In fact, that is one of my great joys as an actress. For example, I still have wonderful memories of the cooking lessons I was given for Haute Cuisine or the piano virtuosity lessons I took for The Page Turner. For The Rose Maker, I had to learn about hybridization. It is a skill that requires a lot of precision and I loved it. My teacher was Madame Dorieux, the owner of the rose garden in which we shot the film. I really like these periods of learning the trade that my characters practice. For me, they are like schools of life. Even if I forget them quickly afterwards, I retain the pleasure I had in learning the gestures of professions that would have remained completely foreign to me otherwise.

Q: Are costumes important for you?
A: They are essential. They allow me to fully “inhabit” my character. With Pierre Pinaud and the costume designer, I spent a lot of time thinking about Eve’s clothes. She is a modern company manager with a manual job but, at the same time, she cherishes the memory and the working methods of her father. We imagined her a little masculine, in clothes that are both modern and old-fashioned, practical but with an outdated elegance. I immediately thought of the floppy necktie, the hat and the pipe. The pipe, which she seems to smoke on the sly, out of nostalgia for her father, is also a tangible expression of her contradictions, since at one point she, whose job is to appreciate the fragrance of roses, asks her young employee to stop smoking so as “not to spoil his sense of smell”. I love it when someone’s contradictions are also revealed in the accessories of their daily life.
Q: You didn’t know Pierre Pinaud. What kind of director is he?
A: He is charming, really, touching, elegant, poetic and tactful at the same time. He is a man who lives in and for beauty. He is a garden of flowers all by himself. His film is called The Rose Maker, because for him, undeniably, the rose is at the center of his film, the rose, its history and its perpetuation which is symbolized here by the fight of a woman. It is also thanks to this approach that, beyond its social dimension, his film exudes such poetry, sensuality and emotion.
Q: A word about your partner, Melan Omerta, who plays Fred, and who was making his feature debut here.
A: Melan was the best in the screen tests… and he has an incredible presence. It’s pretty crazy, he comes from a rap background, knew little or nothing about film, yet he immediately had a feel for the camera. Performing with him was both intense and simple. He gives off an incredible amount of emotion. He is a great discovery.
Q: We get the impression that The Rose Maker is a film that has particularly touched you.
A: That’s true. It’s a very beautiful, refined, very well written and constructed film. At the same time, it is very rich. It exposes the difficulties of a small family business in the face of large corporations, it takes stock of a profession facing great difficulties, it portrays an endearing woman in her struggle to survive without renouncing her moral values, and in her stubbornness to maintain a floral tradition, and it shows that solidarity is a magnificent way to reinvent oneself. The fact that the link between all these facets is the passion for a flower that is the image of eternal beauty merely adds to its singularity!

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Filed Under: Director's Statement, Featured Films, Films, Playhouse 7, Royal, Theater Buzz

Radu Jude on BAD LUCK BANGING OR LOONY PORN: “This was my idea — to clash these two types of obscenity, and to see that the one so-called obscenity in the porn video is nothing compared with what is around us, but that we don’t pay attention to.”

January 26, 2022 by Jordan Deglise Moore

Internationally acclaimed Romanian writer-director Radu Jude’s daring new film BAD LUCK BANGING OR LOONY PORN, which we’ll screen February 1 at our Glendale, NoHo, Playhouse and Royal theaters followed by a streaming engagement beginning February 4 on Laemmle Virtual Cinema, follows Emi (Katia Pascariu), a schoolteacher who finds her reputation under attack after her personal sex tape is uploaded to the internet. Forced to meet the angry parents demanding her dismissal, Emi refuses to surrender. Jude begins the film with an excerpt of the tape and then proceeds with three loosely connected parts: Emi’s confrontational walk through Bucharest between COVID surges; then a playful essay on obscenities; all culminating, in the third part, in an incendiary comic confrontation between Emi and her students’ aggrieved parents. The final part is quite reminiscent of recent U.S. school board meetings but with sex substituting for arguments about COVID restrictions and the teaching of America’s racist history.
   
BAD LUCK BANGING is Romania’s submission to the Oscars for the Best International Feature prize and has enjoyed excellent critical response, as have earlier highlights from his oeuvre on our Laemmle Virtual Cinema platform (now playing but ending soon): AFERIM!, UPPERCASE PRINT and “I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS.”
Some praise for BAD LUCK BANGING:
“A fascinating snapshot of the here and now, an unusually direct example of a nimble, adventurous filmmaker embracing the difficulties of the moment. But it is also something more.” ~ Justin Chang, Los Angeles Times
“Wild. Audacious. An angry, funny film.” ~ Edgar Wright (director, Shaun of the Dead, One Night in Soho)

“A batshit farce. See is on a big screen with an audience to bask in their outrage.” ~ Alex Winter, actor-director, Zappa, Bill & Ted Face the Music

“An eyeball-slicing polemic by a bomb-throwing provocateur.” ~ Josh Kupecki, Austin Chronicle

“Amid so many earnest, forgettable COVID-era and COVID-acknowledging movies around the world, here’s one that truly goes for it.” ~ Michael Phillips, Chicago Tribune

Jude wrote about the origins of the film and its themes:

“The film first appeared out of long discussions with friends. On a few occasions we discussed real-life stories from Romania and other countries, of teachers being expelled from schools where they were teaching because of what they were doing in their private lives: live-cam sex chat or posting amateur porn recordings on the internet. The discussions were so heated, it made me think that although the topic seems trivial and shallow, there must be a lot more behind it if reactions to it are so powerful. Then I decided to make a film – so now I have the last word in front of my friends, they cannot come up with something like that.

Radu Jude

“The film has three parts which engage each other in poetic ways – understanding “poetic” according to Malraux’s definition: “Without doubt all true poetry is irrational in that it substitutes, for the ‘established’ relation of things, a new system of relations.”

“While the film title is mostly self-explanatory, its subtitle, ‘a sketch for a popular film’, could benefit from an explanation. Malraux once noted that “Delacroix, though affirming the superiority of the finished painting over the sketch, kept many of his sketches, whose quality as works of art he considered equal to that of his best paintings.” The idea struck me as relevant and I decided to apply it in filmmaking and try to see what a film would look like if its form was left open, unfinished, like a sketch. And yes, “popular”, since I believe the film could be easy like a summer breeze and because of its tabloid-like topic. But it is not a real popular film. Only a sketch of a possible one.”

On shooting in COVID times:

“The first lockdown ended in Romania at the end of May and we were supposed to film in October and November. When we saw that the second wave of Covid-19 was coming (at the beginning of July), me and the producer Ada Solomon had to decide: either we stick to the plan (which meant also applying for extra funding), with the risk of postponing the shooting in case the crisis worsens, or we film sooner with the money we have. We opted for the latter and started to prepare the film. The number of cases was rising, so I had also to decide how to interact with people. I strongly believe that, as a director, you have a certain responsibility towards the cast and crew.

“When I was young, I really admired all the crazy shoots I read about: Way Down East, Aguirre, Apocalypse Now etc. I still admire them, but I am too weak: I try not to risk the life or health of anybody when it comes to shooting. I don’t think any film in the world is worth someone contracting even a common cold, and my bad films – even less. With these in mind, I did all the casting, and all the rehearsals on Zoom and decided to have the crew wearing masks. And also, even the cast. Firstly, because the film was supposed to be contemporary and the masks were part of our daily life and I wanted to capture this moment, to find the anthropological aspect of the mask-wearing. Secondly, because I cared about the health of the people involved. You know, many of them are in the film at my invitation. I was the host and I felt responsible. Most of the people agreed with these safety regulations. Some of them, more vulnerable, agreed to do the film only because I promised them that the rules of social distancing and protection will be severely respected. We all tested for Covid-19 before shooting and two times more.

“If you went down on the street during this time, the signs that remained — posters for concerts, empty restaurants, and so on and so forth — were already signs of a non-existent reality. Cinema has this possibility to capture things, to capture the signs of the time passing, to make a capsule of the moment in many ways.

“In the first shooting day, Ada Solomon, our producer, explained to everyone that wearing the mask is mandatory on set for the whole film, that we must change it every 4 hours (they were provided free by the production), that we have only sandwiches as catering (for obvious reasons). Everybody (literally: everybody) agreed. And most of us respected the rules, although it was exhausting, and wearing a mask in severe heat for 12 hours a day can be horrible. Then, there were some crew or cast members sometimes not respecting the rules, which made our shoot more challenging than it could have been. I am not against people who break the rules, on the contrary, if it involves only their bodies. I am against breaking the rules when you endanger or harm others. The great thing on a film set (or on my sets, anyway) is that everyone has the same rights as everyone else: the same working hours (apart from special situations, like a more time-consuming make-up etc.), the same food, the same accommodation or transport. So, it was quite disappointing to have a few people every day taking off the mask whenever they could. I see it as a lack of respect for their colleagues, a kind of “Fuck you, I don’t care about anyone else, I want to feel good even if I can infect you.” This sometimes made the atmosphere on the set tense, but that’s it. I felt relieved when the shooting ended, and we were all healthy.”

Themes

“What is obscene and how do we define it? We are used to acts which are much more obscene, in a way, than small acts like the one that set off the uproar we see in the film.

“This was my idea — to clash these two types of obscenity, and to see that the one so-called obscenity in the porn video is nothing compared with what is around us, but that we don’t pay attention to.

“The film tells a contemporary story, a small one, a little story. If history and politics are part of the film, that is because the story itself has a deeper meaning if we see it in a historical, societal and political context.

“Obscenity is the theme of this film and the viewers are constantly invited to compare the so- called obscenity of a banal amateur porn video with the obscenity around us and the obscenity we can find in recent history, whose traces are all around. So, the viewers should make this montage operation. Georges Didi Huberman wrote something very important regarding montage and it could apply to our film as well:

“Le montage sera précisément l’une des réponses fondamentales à ce problème de construction de l’historicité. Parce qu’il n’est pas orienté simplement, le montage échappe aux théologies, rend visibles les survivances, les anachronismes, les rencontres de temporalités contradictoires qui affectent chaque objet, chaque événement, chaque personne, chaque geste. Alors, l’historien renonce à raconter ‘une histoire’ mais, ce faisant, il réussit à montrer que l’histoire ne va pas sans toutes les compléxités du temps, toutes les strates de l’archéologie, tous les pointillés du destin.” *

* “Montage will be precisely one of the fundamental responses to this problem of constructing historicity. Because it is not oriented towards simplicity, Montage escapes theologies, and has the power to make visible the legacies, anachronisms, contradictory intersections of temporalities that affect each object, each event, each person, each movement. Thus, the historian renounces telling ‘a story’, but in doing so, succeeds in showing that history cannot be, without all of the complexities of time, all the archaeological strata, all of the perforated fragments of destiny.”

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Filed Under: Director's Statement, Featured Films, Featured Post, Glendale, Laemmle Virtual Cinema, News, NoHo 7, Playhouse 7, Royal, Theater Buzz

“COMPARTMENT NO. 6 evokes a powerful nostalgia for a type of loneliness we don’t really have any more, and for the type of love that was its cure.” The Finnish Oscar contender opens next week.

January 19, 2022 by Jordan Deglise Moore

We love a movie set on a train and are excited to open an excellent new addition to the genre, the acclaimed new Finnish movie COMPARTMENT NO. 6. (We may be hosting the filmmaker for a Q&A; check our website for news.) The film follows a young woman who escapes an enigmatic love affair in Moscow by boarding a train to the Arctic port of Murmansk. Forced to share the long ride and a tiny sleeping car with a larger than life Russian miner, the unexpected encounter leads the occupants of compartment no. 6 to face major truths about human connection. In addition to the Royal engagement starting Wednesday, January 26, we’ll expand the film to Encino and Pasadena on February 4. The Academy has short-listed the film for its Best International Feature Oscar and prompted some glowing reviews:

“An engrossingly offbeat rail movie…the two leads…walk us through the human condition with the nuances of a big Russian novel.” ~ Deborah Young, The Film Verdict

“It makes for a take on the love story as fresh, resonant and honest… as you’ll find in a contemporary film.” ~ Robert Abele, L.A. Times

“As bleak as the settings may be, it has a delicious black comic streak and shares the buzz of personal re-awakening without ever feeling obvious or cheap. It turns out to be a beacon of warmth amid a frozen wasteland.” ~ Dave Calhoun, TimeOut

“COMPARTMENT NO. 6 evokes a powerful nostalgia for a type of loneliness we don’t really have any more, and for the type of love that was its cure.” ~ Jessica Kiang, Variety

“Seida Haarla gives a winning, intelligent performance as a naturally very clever person made to feel small and helpless in a strange land. But Yuriy Borisov pops from the first moments you see him.” ~ Mark Asch, Little White Lies

Juho Kuosmanen

Director/co-screenwriter Juho Kuosmanen penned the following about his film:

“COMPARTMENT NO. 6 is an Arctic road movie, perhaps it could be seen as a clumsy attempt to find harmony and peace of mind in a world of chaos and anxiety. The core of the story lies in the notion of acceptance. It’s a hard duty to accept that you are part of this chaotic world, and that you exist as you do. Our hero, Finnish student Laura, takes a long train ride to visit some ancient petroglyphs. She quotes a man she met: “To know yourself, you need to know your past.” She would like to be an archaeologist who gets fulfilment out of these kind of things, petroglyphs and such. But is she really that person? Or is this just a stolen dream from a person she would like to be?

“On the train she meets Ljoha, an annoying Russian miner who follows her like a shadow. She wanted to know her past, and Ljoha is the embodiment of it. It’s unpleasant and banal, but it is what it is.

“Road movies are often about freedom. In a car you can go where you want, every crossroad is a possibility. But I tend to think that freedom isn’t an endless number of options but rather, the ability to accept your limitations. A train ride is more like destiny. You can’t decide where to go, you just have to take what it gives you.”

https://www.youtube.com/watch?v=itL_GpBalA4

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Filed Under: Director's Statement, Featured Films, Featured Post, Filmmaker in Person, Films, Playhouse 7, Q&A's, Royal, Theater Buzz, Town Center 5

LUNANA: A YAK IN THE CLASSROOM, the first film from the Kingdom of Bhutan to make the shortlist for the Best International Feature Oscar, opens January 21.

January 12, 2022 by Jordan Deglise Moore

Ugyen, a young teacher in modern Bhutan, shirks his duties while planning to go to Australia to become a singer. As a reprimand, his superiors send him to the most remote school in the world, in a village called Lunana, to complete his service. He finds himself exiled from his Westernized comforts after an arduous eight-day trek just to get there, where he finds no electricity, no textbooks, not even a blackboard. Though poor, the villagers extend a warm welcome to their new teacher, but he faces the daunting task of teaching the village children without any supplies. He wants to quit and go home, but he learns of the hardship in the lives of the beautiful children he teaches, and begins to be transformed by the villagers’ amazing spiritual strength.

We open LUNANA: A YAK IN THE CLASSROOM Friday, January 21 at the Playhouse, Royal and Town Center.

From the writer-director, Pawo Choyning Dorji:

“Pursuit of Happiness: Being the nation of ‘Gross National Happiness,’ Bhutan is supposedly the world’s happiest country. But what does it really entail to be happy? For that matter are the Bhutanese really that happy? Ironically many Bhutanese leave Bhutan, the land of happiness, to seek their own version of ‘happiness’ in the modern glittering cities of the west. With LUNANA: A YAK IN THE CLASSROOM I wanted to tell a story where Ugyen, the young protagonist of the story also wishes to go in search of his happiness. However, he is sent on another journey… he reluctantly goes into a world that is unlike the modern world in every aspect. Along this journey he realizes what we so desperately seek in the outer material world, actually always exists within us, and that happiness is not really a destination but the journey.

Filmmaker Pawo Choyning Dorji with an actor.

“The Dark valley: The film was shot on-location at the world’s most remote school, in the village of Lunana. The village is a settlement that’s sits along the glaciers of the Himalayas, only accessible through an eight-day trek over some of the highest mountains of the world. There are only 56 people in the village, most of whom had never seen the world outside their village. The word ‘Lunana’ literally means the dark valley; a valley so far and distant that the light doesn’t even reach it. So isolated is the village that even to this day, there are no electricity and cellular network connections. Due to the lack of facilities, the production of the film was totally dependent on solar-charged batteries.

“Though extremely challenging, I specifically wanted to shoot the movie in Lunana, inspired by the purity of the lands and the people. I also wanted everyone involved in the production to experience this life changing journey, so that the authenticity of experience could translate on to the film.

“The major themes of the story are ‘the search for happiness and a sense of belonging’, and these are universal themes that everyone can relate to irrespective of one’s culture and background. However I wanted to present those themes through a medium like Lunana, a world and a people that are so different from not only the rest of the world, but from also Bhutan itself. I wanted to show that even if in such a unique world, the hopes and dreams that connect humanity are the same.”

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Filed Under: Director's Statement, Featured Films, Featured Post, Films, Playhouse 7, Royal, Theater Buzz, Town Center 5

Asghar Farhadi on his award-winning film A HERO: “People can take years to find within themselves the reasons for their actions, deeply buried within their past.”

January 5, 2022 by Jordan Deglise Moore

Winner of the Grand Prix and François Chalais Award and a nominee for the Palme d’Or at the last Cannes Film Festival, Iranian filmmaker Asghar Farhadi’s new film A Hero follows Rahim, on a two-day leave from debtor’s prison. While out, he tries to convince his creditor to withdraw his complaint. But things don’t go as planned. We open the film Friday at the Royal, Playhouse and Town Center and at our Claremont, Glendale and Newhall theaters on January 21.

“In Mr. Farhadi’s hands it’s a deliciously ironic, exquisitely complex and mysteriously stirring tale of a man, his son and family, and the staining of multiple reputations by what seems, at the outset, to be a fairly minor lie.” ~ Joe Morgenstern Wall St. Journal

“A superb morality play that immerses us deeply in a society’s values and rituals and keeps us guessing right to its powerful final shot.” ~ Dave Calhoun, Time Out

“As it takes more and more twists, the story veers on the edge of Shakespearean tragicomedy, with darkly funny results. But the dominant tone is dramatic, and occasionally tense and painful, as we watch our hero make dubious choices.” ~ Anna Smith, Deadline Hollywood Daily

Interview with Asghar Farhadi:

Q: How did the idea for A Hero come about?

A: I had been reading stories like this in the press for some time. Those of ordinary individuals, who briefly made newspaper headlines because of an altruistic act. These stories often had common peculiarities. A Hero was not inspired by a specific news item, but while writing it, I had these stories in mind that I read in the press.

Asghar Farhadi

Q: Why locate this story in Shiraz?

A: The answer to this question is given by the film’s theme. There are many historical remains in Shiraz, important and glorious traces of the Iranian identity. The main reason for choosing this city is the specificity of the plot and the characters. But the secondary reason was my wish to distance myself from the tumult of Tehran.

Amir Jadidi

Q: How did the writing process go?

A: At the beginning, I had a vague idea from these true stories. Over the years, the idea grew. I always work the same way. The spark can come from an image, a feeling, a succinct plot which will develop thereafter. Sometimes all of this can stay in a corner of my mind, without my suspecting that it will one day lead to a screenplay. Time is an important ally. Some of these seeds disappear on their own, others persist, grow and stay in you in a state of unfinished process, waiting for you to dedicate yourself to them. It is at this stage, through scattered notes, that an idea begins to emerge. Then comes the research and the first sketches which themselves dictate the path to take. Almost all of my stories have developed in my mind in this progressive way. I do not remember ever having been able to conceive of a complete story with a beginning, a middle and an end from the outset.

Sahar Goldust.

Q: Do you know the full biography of your characters?

A: The scattered notes I mentioned are largely part of the exploration of the characters’ past. This step, which always takes a long time, mostly concerns the main characters. For months, I note all the ideas related to the story I am developing on colored notecards. I choose one color for the ideas I am sure I will somehow incorporate into the script, another for those of which I am less sure. Many of these cards will not be used directly in the writing phase. They do not provide clear information for the script, however they help me to better understand my characters. During this preparatory phase, many aspects of the characters’ backgrounds are developed and leave more or less visible traces in the film.

Asghar Farhadi

Q: There is a great ambiguity in the character of Rahim. For example, the smile that hardly ever leaves him.

A: It seems to me that the realistic approach of the film required this complexity in the characters. As in real life, people are made of multiple dimensions, and in each situation, one dimension takes over and becomes more visible. One could say that these characters are “gray” – they are not stereotypical or one-dimensional. Like any real person in everyday life, they are made of contrasts, antagonistic tendencies or conflict at the time of their decision-making. Rahim’s smile is part of a set of traits that appeared gradually over months of rehearsals; while seeking to define the nature of the actor who embodied it, the role was inscribed in everyday life so as to give Rahim this quality of a “gray” character.

Amir Jadidi

Q: What is your method for your group scenes to be so natural, especially the family scenes?

A: This results mainly from the writing. It is an unconscious process. When one takes special care to make every detail of the scene plausible and authentic, the whole team, especially the actors, want to bring the script to life. With the characters’ behaviors and their dialogues being realistic and not built on clichés, the actors in their interpretation strive not to fall into the trap of artifice. There is certainly a risk that the search for naturalness itself constitutes an artifice. The line is fine and subtle and you have to be very vigilant not to cross it. Daily life can be repetitive and boring. As a director, one has to take care that the search for a realistic impression of the scene, almost like a documentary, does not induce the slow and uneventful pace of real life.

Q: Siavash lives with his uncle and aunt, and Farkhondeh stays with her brother. There is real solidarity in these extended families, which sometimes becomes a burden. Is this something very common in Iran?

A: Like in many other countries, I guess this is less observed in the capital or in large cities. But elsewhere, the pace of life is less hectic, families have lost less of their identity, their traditional ways of life and therefore these extended families are more frequent. Affective and family relationships are more developed, so if a family member is in trouble, everyone feels concerned. I grew up in this type of socio-cultural environment. Twenty years ago, the sentence “This is not my problem” did not exist in the Iranian language. However, this sentence has now been imported and characterizes a new relational mode in our society.

Q: Bahram’s character, the man to whom Rahim owes money, is also very ambiguous…

A: Classically, because of the obstacles he creates for the main character, he should have been unsympathetic and the villain in the movie. But as I mentioned before, due to the treatment of the characters, he has also his own reasons for acting the way he does. When he finally expresses them, they seem to us quite justified and his behavior understandable. It is perhaps this aspect, which goes against the stereotypical figure of the villain that allows us to feel closer to him.

Q: As in A Separation, the eyes of the children are important.

A: Once more, in this movie too, the children are the witnesses. They observe adults’ difficulties and their conflicts. They are unable to grasp the complexity of these difficulties. This is why, as in the previous movies, the children are dazed witnesses of the events. Their perception of the crisis experienced by the adults is purely emotional. Yet in this movie Nazanin, Bahram’s daughter, who is older than the other children, commits an act that creates an even more complex situation.

Q: Most of the characters communicate through social media. Is this a new and powerful phenomenon in Iran?

A: Like everywhere in the world, social networks in Iran occupy an important place in the lives of individuals. This phenomenon is quite recent, but its impact is such that it has become difficult to remember what life was like before its appearance. My personal experience makes me think that the omnipresence of social networks in everyday life is even more obvious in Iranian society than elsewhere. This can be explained by the country’s current socio-political situation.

Q: At the end of each of your films, the viewer does not have all the answers to the questions raised by the plot. Are you a filmmaker of the undecidable?

A: As I already said, this specific characteristic common to the films I have made is not intentional. This ambiguity, even this part of mystery, sometimes sets in during the writing and I have to say that I like it. This aspect makes the relationship between the film and the viewer more lasting beyond the screening. It gives the viewer the opportunity to think more about the film and to dig further into what you call the undecidable. I always take great pleasure in seeing Rashōmon again, precisely because of this mysterious dimension. To combine this ambiguity with an everyday story was an interesting challenge.

Q: Do you know this famous quote from Jean Renoir: “In this world, the truly terrible thing is that everybody has their reasons.” It seems to fit most of the characters of A Hero…

A: I totally agree. Everyone has their reasons for acting the way they do, even if they are not necessarily aware of these reasons. If asked to list them, they would be unable to do so. Sometimes they are not clear or easy to summarize. They are a mass of contradictions. In reality people can take years to find within themselves the reasons for their actions, deeply buried within their past. Furthermore, I must specify that for me, this sentence does not mean that all actions are justified. It is not a question of legitimacy, but understanding. Understanding does not mean to legitimize. By taking note of the reasons that prompted an individual to act, we can understand it, without necessarily agreeing with it.

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Filed Under: Claremont 5, Director's Statement, Featured Films, Featured Post, Films, Glendale, Newhall, Playhouse 7, Royal, Theater Buzz, Town Center 5

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laemmle Laemmle Theatres @laemmle ·
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