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Ravishing Chinese Noir THE WILD GOOSE LAKE, Palme d’Or Nominee, Opens Friday.

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This Friday Laemmle’s Glendale, Santa Monica, North Hollywood and Pasadena venues will open THE WILD GOOSE LAKE, acclaimed director Diao Yinan’s eagerly anticipated follow-up to his 2014 Berlinale winning neo-noir BLACK COAL, THIN ICE. Toppling box office records in Diao’s native China, the film “cements his status as a master filmmaker with another ingenious crime epic” (Little White Lies).

When smalltime mob leader Zhou Zenong (Chinese superstar Hu Ge) accidentally kills a cop, a dead-or-alive bounty is placed on his head, forcing him on the lam from both the police as well as dangerous gangsters out for the reward. Hiding out in China’s densely populated (and deeply divided) Wuhan province, Zhou becomes entangled with a beautiful, enigmatic woman, who has mysterious intentions of her own. Featuring gorgeous, neon-drenched cinematography and bursts of shocking, expertly choreographed action, THE WILD GOOSE LAKE is “spellbinding” (Rolling Stone), “brilliant” (Indiewire) and “downright Hitchcockian” (AV Club).

https://www.youtube.com/watch?v=7E5De82Yo9c&feature=emb_logo

 

Some of the copious praise for the THE WILD GOOSE LAKE:

“Diao Yinan cements his status as a master filmmaker with another ingenious crime epic. THE WILD GOOSE LAKE is another assured, exhilarating tale of criminality and the havoc it wreaks on interpersonal connection, with everything impressive about its predecessor – attentive procedural detail, curious experiments with colour and shadow, action set pieces that’d make Michael Mann envious – raised to the Nth degree. There’s not a single false step in its two hours; every edit, every shot setup, every movement of the camera maximises the raw cinematic effect. There’s power in Diao’s more subdued passages, but when he really lets loose and the fists (or bullets, or strategically concealed booby-traps) start flying, this film’s greatness transforms from the kind that sneaks up on you to the kind that blows you away.” ~ Charles Bramesco, Little White Lies

“Like a beautifully constructed puzzle box, THE WILD GOOSE LAKE‘s various layers unfold in satisfying ways. With elegant violence, emotional richness and a complex yet coherent storyline, this is a rare bit of crime thriller treat that truly pays off. Above all, it’s a highly entertaining film that doesn’t for a moment eschew aesthetics, crafting a world of shadow and subterfuge that’s terrific. THE WILD GOOSE LAKE is a hoot, a Chinese crime thriller that proves Diao Yinan is a new master of dark, thrilling noir.” ~ Jason Gorber, Slash Film

“Diao Yinan’s twisting and turning nocturnal noir is full of moody attitude and glorious cinematography.” ~ Dave Calhoun, Time Out

“Diao Yinan’s THE WILD GOOSE LAKE starts with a rainy night, a guy on the lam, a dame who sidles up to him and murmurs, “Got a light?” In other words, this Chinese gangland thriller kicks off in classic noir style, and gets progressively noirer and more nocturnal as it goes on. The fourth feature from writer-director Diao, who made a major impression with 2014’s investigative drama BLACK COAL, THIN ICE, this hyper-stylish manhunt drama laces slow-burn atmospherics with abrupt outbursts of staccato action, and boils down characterisation to the leanest of bare bones, making for minimalist existentialism in the style of Jean-Pierre Melville.” ~ Jonathan Romney, Screen Daily

“Diao Yinan delivers a definitive Chinese crime noir, in which the ravishing style and inventive staging form the substance.” ~ Jessica Kiang, Variety

“In a movie where just about every scene contains some inventive technique or choice, I was most taken with the way Diao boldly abstracts some of his action: a close-quarters fight that unfolds entirely through associative close-ups; a stabbing conveyed through the scattering of bills; a cop discovering one of his colleagues is dead when a dollop of blood lands on his face. Some of these moments are downright Hitchcockian, giving us the implication of violence without always actually showing it.” ~ A.A. Dowd, AV Club

“While Chinese director Diao Yinan’s THE WILD GOOSE LAKE hardly reconfigures the crime thriller afresh, it does pare it down to the essentials to exhilarating effect, progressively jettisoning the whys and wherefores of plot to focus on little more than two bodies moving through any number of ravishing, noirish spaces.” ~ James Lattimer, Sight & Sound

“This enjoyable and elegantly styled noir thriller is … awash with wonderful set-pieces and exquisite visual moments which skillfully echo China’s gilded past and leave us in no doubt of its contemporary criminality and territory wars.” ~ Meredith Taylor, Filmuforia

“Like the waters lapping up against the shores of its murky titular setting, Diao Yinan’s fugitive thriller THE WILD GOOSE LAKE (Nan Fang Che Zhan De Ju Hui) is a film that doesn’t hit you like a tidal wave as much as it gradually washes over you, leaving in its wake a series of memorable set-pieces and a dense, dark web of violence and fatality.” ~ Jordan Mintzer, The Hollywood Reporter

“It’s a spellbinding pulp noir with a stylish edge and a sui generis fatalism. (12 Best Movies at the Toronto Film Festival)” ~ David Fear, Rolling Stone

“A dizzying, frenetic plunge into the winding and over-populated working-class districts of the city, THE WILD GOOSE LAKE is an exceptional auteur film and noir. Each and every shot is well worth the detour in this sea of coup de force visuals (a very special mention goes to Director of Photography Jingsong Dong), on which the plot never lingers; instead, it takes them in as it twists and turns torrentially (as written by the filmmaker himself), blasting its way through a three-day period, broken up by some nice atmospheric moments where all the actions slows. It makes for a dazzling, labyrinthine journey through a criminal underworld. Here, violence plays an eternally cathartic role and sometimes bursts with black humour, making great use of the laconic and darkly romantic charisma of the two main actors and confirming the immense, fascinating and highly entertaining talent of Diao Yinan.” ~ Fabien Lemercier, Cineuropa

“More even than on its strengths as an expertly directed piece of entertainment, Diao’s latest impresses for its scathing, and unexpected, indictment of societal ills—for how the filmmaker recognizes the extent to which the contours of a sordid genre film appropriately express realities of Chinese life.” ~ Sam Mac, Slant Magazine

“…this film is fascinating because of how those genre thrills are complicated by these off-kilter, idiosyncratic formal choices that trigger not just a lurid dreamscape and uncomfortable humor… but also a vulnerability in the face of alienation and suffering. Watching THE WILD GOOSE LAKE feels like watching a society crumble in real-time, the architecture itself decaying and being painted over while people’s baggage and experiences become more and more exposed….” ~ The Film Stage

“…I thought Diao Yinan’s THE WILD GOOSE LAKE had something of Eisenstein about it, the percussive directionality and suggestiveness of each edit, the way violence happened by implication because a cut is made from a violent instrument to a blood stain. It’s a film of sensual tension wrung from its cinematic touchstones….” ~ Scout Tafoya, RogerEbert.com

“[THE WILD GOOSE LAKE] offers some of the most thrillingly original fight scenes you’ll see onscreen this year.” ~ Nate Jones, Vulture.com

“Forever Looking for Love.” Kenneth Turan on the Newly Restored PANDORA AND THE FLYING DUTCHMAN in the L.A. Times.

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From Kenneth Turan’s February 14, 2020 Critics Choice column in the Times:

“Independent films were not an invention of Sundance, they existed in the golden age Hollywood as well, and one of the most unusual, and the most gorgeous, was 1951’s Pandora and the Flying Dutchman. It was directed by Albert Lewin and starred James Mason and, looking especially beautiful, Ava Gardner in a pleasantly surreal supernatural tale of a cursed sea captain and a heedless young woman who lives only for pleasure. Or so she thinks.

“Gardner looked as photogenic as she did because Pandora’s cinematographer was the great Jack Cardiff, famous for works like Black Narcissus, and because the film was shot in the knockout process known as three-strip Technicolor.

“Restoring Pandora to its original glory has taken more than a dozen years, with the Cohen Media Group ultimately funding a glorious 4K version, which included more than 700 hours of digital restoration lavished on 177,120 frames of the film. Was it worth it? Absolutely.

“Begins Feb. 21 at Laemmle Royal, West Los Angeles.”

Cohen commissioned several terrific new posters for Pandora by New York-based key art designer, illustrator, and art director Mark McGillivray:

 

Ava Gardner and James Mason in a scene from “Pandora and the Flying Dutchman.” (Cohen Media Group)

Our Filmic Cup Runneth Over: Drink Deep of the Oscar-Nominated Foreign Features and Documentaries.

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Now is the time to enjoy fantastic films from around the world. All five of the Oscar-nominated documentary features — THE EDGE OF DEMOCRACY, THE CAVE, FOR SAMA, AMERICAN FACTORY and HONEYLAND are in theaters now, before the awards show on February 9. Four of the five Oscar nominees for Best International Feature — LES MISÉRABLES, PAIN AND GLORY, PARASITE and HONEYLAND (deservedly, it’s nominated twice!) are now in theaters.

We hope to open the Polish drama CORPUS CHRISTI, the fifth foreign film nominee and the dark horse in the race, on March 6 at the Monica Film Center, Playhouse and Town Center.

The film is about 20-year-old Daniel, who is released and sent to a remote village to work as a manual laborer after spending years in a Warsaw prison for a violent crime. The job is designed to keep him busy, but Daniel has a higher calling. While imprisoned he became deeply religious and now aspires to join the priesthood, but his criminal record makes it impossible. When Daniel arrives in town, one quick lie allows him to be mistaken for the town’s new priest, and he sets about tending to his newfound flock. An international sensation with an electrifying lead performance by a previously unknown actor, CORPUS CHRISTI is the twelfth Polish film to earn an Oscar nomination. Only one of them has taken home the prize, IDA in 2015.

https://www.youtube.com/watch?v=B27ORUHlp6E&t=4s

2020 OSCARS SPOTLIGHT: DOCUMENTARIES at the Monica Film Center & Playhouse.

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We are thrilled to announce that beginning this weekend we will be screening all of the documentaries short-listed for the 2020 Oscars. Together the 15 films offer a breathtaking portrait of our world, from the micro — the freelance Mexico City ambulance drivers of Midnight Family and the Macedonian beekeeper of Honeyland — to macro —  the data theft crisis depicted in The Great Hack and the savage forced family planning of One Child Nation, all told with peak cinematic genius. The final five Oscar nominees will be announced January 13 and the 92nd annual Academy Awards ceremony is set for Sunday, February 9, but all of these documentaries are as good as the finest fiction films and well worth your time to experience with the big canvass of a movie screen.

December 28-29

MAIDEN is the story of how Tracy Edwards, a 24-year-old cook on charter boats, became the skipper of the first ever all-female crew to enter the Whitbread Round the World in 1989.

THE GREAT HACK uncovers the dark world of data exploitation with astounding access to the personal journeys of key players on different sides of the explosive Cambridge Analytica/Facebook data scandal. (Also playing January 3-9 at the Laemmle Glendale.)

AQUARELA takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Captured at a rare 96 frames-per-second, the film is a visceral reminder that humans are no match for the sheer force and capricious will of Earth’s most precious element.

ADVOCATE ~ Since the early 1970s, Jewish-Israeli attorney Lea Tsemel has made a career out of defending Palestinians in Israeli courts: from feminists to fundamentalists, from non-violent demonstrators to armed militants, including suicide bombers.

THE BIGGEST LITTLE FARM follows two dreamers and their beloved dog when they make a choice that takes them out of their tiny L.A. apartment and into the countryside to build one of the most diverse farms of its kind in complete coexistence with nature.

January 4-5

MIDNIGHT FAMILY ~ In Mexico City’s wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. As the Ochoas try to make a living in this fraught industry, they struggle to keep their dire finances from compromising the people in their care.

HONEYLAND ~ Hatidze lives with her ailing mother in the mountains of Macedonia, making a living cultivating honey using ancient beekeeping traditions. When an unruly family moves in next door, what at first seems like a balm for her solitude becomes a source of tension as they, too, want to practice beekeeping, while disregarding her advice.

FOR SAMA is both an intimate and epic journey into the female experience of war. A love letter from a young mother to her daughter, the film tells the story of Waad al-Kateab’s life through five years of the uprising in Aleppo, Syria as she falls in love, gets married and gives birth to Sama, all while cataclysmic conflict rises around her. (Also playing December 28 & 29 at the Royal.)

THE EDGE OF DEMOCRACY ~ A cautionary tale for these times of democracy in crisis – the personal and political fuse to explore one of the most dramatic periods in Brazilian history. Combining unprecedented access to leaders past and present, including Presidents Dilma Rousseff and Lula da Silva, with accounts of her own family’s complex past, filmmaker Petra Costa witnesses their rise and fall and the tragically polarized nation that remains.

THE APOLLO chronicles the unique history and contemporary legacy of the New York City landmark, the Apollo Theater.

January 11-12

KNOCK DOWN THE HOUSE ~ At a moment of historic volatility in American politics, four women decide to fight back, setting themselves on a journey that will change their lives and their country forever. Without political experience or corporate money, they build a movement of insurgent candidates challenging powerful incumbents in Congress. Their efforts result in a stunning upset.

THE CAVE is an unflinching story of the Syrian war. For besieged civilians, hope and safety lie underground inside the subterranean hospital known as the Cave, where Dr. Amani Ballor and her female colleagues have claimed their right to work as equals alongside their male counterparts, doing their jobs in a way that would be unthinkable in the patriarchal culture that exists above.

Crafted from a newly discovered trove of 65mm footage, and more than 11,000 hours of uncatalogued audio recordings, APOLLO 11 takes us straight to the heart of NASA’s most celebrated mission—the one that first put men on the moon, and made Neil Armstrong and Buzz Aldrin household names.

AMERICAN FACTORY ~ In post-industrial Ohio, a Chinese billionaire opens a new factory in the husk of an abandoned General Motors plant, hiring two thousand blue-collar Americans. Early days of hope and optimism give way to setbacks as high-tech China clashes with working-class America.

China’s One Child Policy may have ended in 2015, but the process of dealing with the trauma of its brutal enforcement is only just beginning. The sweeping ONE CHILD NATION explores the ripple effect of this devastating social experiment, uncovering one shocking human rights violation after another. (Also currently playing at the Laemmle Glendale through at least January 2.)

Fellini, Godard, and Renoir Begin Our Anniversary Classics Abroad Series for 2020.

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We are delighted to announce the first four films of 2020 in our Anniversary Classics Abroad series! A companion to our American repertory film series Anniversary Classics, our Abroad program screens great foreign films one Wednesday every month at three venues simultaneously: the Royal in West L.A., the Glendale, and the Playhouse 7 in Pasadena.

Laemmle patrons with a Premiere Card save $3 on tickets and receive 20% food and drinks! Learn about the perks of our Premiere Card here.

January 22: FELLINI SATYRICON
Federico Fellini’s surreal depictions of ancient Rome is loosely based on Petronius’s Satyricon, written during the reign of the Nero and set in imperial Rome. The film is divided into nine episodes and follows the scholar Encolpius and his friend Ascyltus as they try to win the heart of the young boy Gitón, whom they both love. Roger Ebert said, “It is so much more ambitious and audacious than most of what we see today that simply as a reckless gesture, it shames these timid times.” Click here for tickets.

February 19: ALPHAVILLE
In ALPHAVILLE, Jean-Luc Godard’s hard-boiled detective/science fiction fusion, Lemmy Caution (Eddie Constantine), comes to Alphaville, the capital of a totalitarian state, in order to destroy its leader, an almost-human computer called Alpha 60. While on his mission, Lemmy meets and falls in love with Natacha (Anna Karina), the daughter of the scientist who designed Alpha 60. Their love becomes the most profound challenge to the computer’s control. Click here for tickets.

March 18: EAST/WEST
EAST/WEST, French director Regis Wargnier’s (Indochine) romantic period drama, is set in 1946 when Stalin launched a propaganda campaign offering amnesty to Russians who had settled in the West. Alexei Golovin (Oleg Menshikov) decides to takes his young French wife Marie (Sandrine Bonnaire) and son Serioja with him on the long journey back to his homeland but Stalin’s offer is not what it appeared. This 1999 Best Foreign Language nominee also stars Catherine Deneuve and Bohdan Stupka. Click here for tickets.

April 22: FRENCH CANCAN
Jean Renoir’s musical dramedy chronicles the revival of Paris’ most notorious dance as it tells the story of a theater producer who turns a humble washerwoman into a Moulin Rouge star. The Guardian’s Peter Bradshaw said, “The glorious final sequence, in which the cancan is finally unveiled to the rowdy audience, is some kind of masterpiece, perhaps the equal of anything Renoir ever achieved: wild, free, turbulent, exhilarating.” Click here for tickets.

Again, we will show all Anniversary Classics Abroad films at three venues, the Royal, Playhouse, and Glendale, at 7pm. Come experience these classics of world cinema as they were intended to be experienced, on a big screen in a dark auditorium full of fellow cinephiles. Click here for full details.

TEMBLORES Q&A with Lead Actor on Opening Night at the Royal.

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TEMBLORES Juan Pablo Olyslager will participate in a Q&A following the 7:20 pm show on Friday, 12/6.

 

https://youtu.be/fLVZAelSSFA

Culture Vulture 2020 Commences.

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Begin the new year and the new decade by taking in some of the esoteric cinema of our Culture Vulture series, now entering its seventh year.

January 13 & 14 ~ THE PRADO MUSEUM: A COLLECTION OF WONDERS celebrates the 200th anniversary of the storied Prado Museum — one of the most-visited museums in the world.  Hosted by Academy Award winner Jeremy Irons, this cinematic journey offers viewers a spell-binding experience, telling the story of Spain and beyond, through the works of Vélazquez, Rubens, Titian, Mantegna, Bosch, Goya, El Greco, and more.

https://www.youtube.com/watch?v=OSIvsf5-COg

 

AFTERWARD January 20 & 21 ~ Jerusalem-born trauma expert Ofra Bloch forces herself to confront her demons in a journey that takes her to Germany, Israel and Palestine. Set against the current wave of fascism and anti-Semitism sweeping the globe, AFTERWARD delves into the secret wounds carried by victims as well as victimizers, through testimonies ranging from the horrifying to the hopeful.

https://www.youtube.com/watch?v=ZSw1jeyE6NI

 

GAUGUIN FROM THE NATIONAL GALLERY, LONDON January 27 & 28 ~ This fascinating new cinema event, Gauguin from the National Gallery, London, opens with a brand-new documentary about the life and work of Paul Gauguin, one of the world’s most popular and important artists. Filmed in Tahiti, France, the Marquesas Islands and the UK, this cinematic film explores Gauguin’s extraordinary – and at times controversial – artistic achievement, with commentary from his descendants, artists and world experts. It is followed by an exclusive private view of the National Gallery exhibition, The Credit Suisse Exhibition: Gauguin Portraits.

https://vimeo.com/365857943?utm_source=Full+Exhibitor+List&utm_campaign=0f6f2c4ca5-EMAIL_CAMPAIGN_2019_11_19_04_37&utm_medium=email&utm_term=0_11aeb814de-0f6f2c4ca5-216267177

 

IN SEARCH OF BEETHOVEN February 3 & 4 ~ The makers of IN SEARCH OF MOZART return with a new feature-length bio-doc about Beethoven. Director Phil Grabsky brings together the world’s leading performers and experts on Beethoven to reveal new insights into the legendary composer.

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

 

February 10 & 11 ~ EARTH was filmed at seven locations that humans have transformed on a grand scale: Entire mountains being moved in California; a tunnel being sliced through rock at the Brenner Pass; an open-cast mine in Hungary; a marble quarry in Italy; a copper mine in Spain; the salt mine used to store radioactive waste in Wolfenbüttel; and a tar sands landscape in Canada. Initially shown from above as abstract paintings, these terrains are subsequently explored on the ground: The film weaves together observational footage of machines in operation with conversations with the workers.

February 17 & 18 ~ MATTHEW BOURNE’S ROMEO + JULIET has been hailed as ‘the single most eagerly awaited dance show for 2019’ by The Daily Telegraph. This passionate and contemporary re-imagining of Shakespeare’s classic story of love and conflict is set in the not-too-distant future in ‘The Verona Institute.’ Here ‘difficult’ young people are mysteriously confined by a society that seeks to divide and crush their youthful spirit and individuality. Our two young lovers must follow their hearts as they risk everything to be together.

https://www.youtube.com/watch?v=JsSFV8B4CI4

 

February 24 & 25 ~ GISELLE touches upon great and universal romantic themes. In this brand new production, renowned choreographer Alexei Ratmansky brings a fresh perspective to one of the oldest and greatest works of classical dance, giving the audience an opportunity to discover this iconic ballet anew.

CODE 8 Q&A’s with Cast & Crew on Opening Weekend at the Noho 7.

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CODE 8 Q&A’s following the 7:20 pm show on Friday (12/6) and Saturday (12/7) with director Jeff Chan who will be joined by actors Stephen Amell and Robbie Amell on Friday and joined by actor Robbie Amell on Saturday.

 

https://youtu.be/PrX1JJ5dduA