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Bernardo Bertolucci’s THE CONFORMIST ~ 50th Anniversary Screenings.

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We continue our Anniversary Classics series with Bertolucci’s stunner at 7 o’clock on Wednesday, September 29 at our Glendale, Newhall, Pasadena and West L.A. theaters. The film follows Marcello Clerici (Jean-Louis Trintignant), a member of the secret police in Mussolini’s fascist Italy. He and his new bride, Giulia (Stefania Sandrelli), travel to Paris for their honeymoon, where Marcello also plans to assassinate his former college professor Luca Quadri (Enzo Tarascio), an outspoken anti-fascist living in exile. But when Marcello meets the professor’s young wife, Anna (Dominique Sanda), both his romantic and his political loyalties are tested.

“It’s easy to overlook how stark THE CONFORMIST‘s political and allegorical message is because it’s just so damn beautiful.” (Aja Romano, Vox)

“Bertolucci’s masterpiece—made when he was all of 29—will be the most revelatory experience a fortunate pilgrim will have in a theater this year.” (Michael Atkinson, Village Voice)

“THE CONFORMIST is celebrated for cinematographer Vittorio Storaro’s tumbling autumn leaves, but its emotional impact involves a tumbling soul.” (Joshua Rothkopf, Time Out New York)

“THE CONFORMIST is a beautiful and provocative film, and its theme could not be more timely.” (John Hofsess, Maclean’s Magazine)

Ninety of His Former Dancers Finally Open Up about the Magic IN BALANCHINE’S CLASSROOM.

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IN BALANCHINE’S CLASSROOM, which we’ll open September 24 at the Playhouse, Royal, and Town Center, takes us back to the glory years of Balanchine’s New York City Ballet through the remembrances of his former dancers and their quest to fulfill the vision of a genius. Opening the door to his studio, Balanchine’s private laboratory, they reveal new facets of the groundbreaking choreographer: taskmaster, mad scientist, and spiritual teacher. Today, as his former dancers teach a new generation, questions arise: what was the secret of his teaching? Can it be replicated?

Filled with never before seen archival footage of Balanchine at work during rehearsals, classes, and in preparation for his most seminal works, along with interviews with many of his adored and adoring dancers and those who try to carry on his legacy today, this is Balanchine as you have never seen him, and a film for anyone who loves ballet and the creative process.

DIRECTOR’S STATEMENT by Connie Hochman:

IN BALANCHINE’S CLASSROOM grew out of my lifelong interest in the work of the groundbreaking choreographer George Balanchine. As a child in the 1960s, I trained at his School of American Ballet and danced alongside the New York City Ballet, with Balanchine at the helm. During these years, I witnessed a profound bond between Balanchine and his dancer-disciples, which continued to inspire and fascinate me.

In the 1970s, as a dancer with Pennsylvania Ballet, I experienced the thrill and exhilaration of dancing many of Balanchine’s greatest ballets. Still, I wanted to know more about Balanchine, the teacher. I remembered that friends of mine who joined New York City Ballet had the opportunity each morning to take company class with him. But whenever I asked about it, they froze. No one would discuss Balanchine’s classroom.

Something told me that what transpired in that room – off limits to anyone outside New York City Ballet – was important. My curiosity only grew. Why did Balanchine teach and not just choreograph? How did his class relate to his ballets? What was it that he sought from his already proficient dancers? Why wouldn’t they talk about it?

Decades later, my childhood memories of Balanchine, fueled by my desire to solve the mystery of his classroom, impelled me to seek answers. I proposed a series of interviews with former Balanchine dancers. To my delight, many said yes – 90 in all. One by one, they opened up about the phenomenon of Balanchine’s teaching. His unorthodox methods. The extremes. The charged atmosphere. His unrelenting presence.

As each dancer travels back in time to the creative whirlwind of the Balanchine era, they relive the lessons he teaches about dance and beyond: those “a-ha” moments when resistance gives way to surrender and a super-intelligence takes over. Balanchine’s class is more than just a metaphor for life. It is Life itself – short, fleeting, intense, with rewards in proportion to one’s engagement and dedication. The dancers’ words, at last, began to quench my thirst for understanding and IN BALANCHINE’S CLASSROOM was conceived.

In addition to the dancer testimonials, which form the basis for the film, I launched an extensive search for visuals to bring the story to life. In the process, I discovered a trove of never-before-seen archival footage of Balanchine in America. With special permission from The George Balanchine Trust, I traveled across the country and to Europe to film Balanchine’s former dancers staging his ballets, teaching classes, and faithfully passing on their unique knowledge to the next generation. As I witnessed this painstaking process of transference, new questions arose which ultimately drive the final film: What happens when a master is gone? What was the secret of his teaching? Can it be replicated?

My fervent wish is to share with others the story of this extraordinary teacher and his extraordinary disciples. It is, in essence, the artist’s journey, a subject rarely tackled in film. The magic of Balanchine’s classroom was like nothing on earth. By opening the door, I invite you in to see for yourself.

DIRECTOR’S BIOGRAPHY: Connie Hochman was a professional ballet dancer with Pennsylvania Ballet where she performed many Balanchine masterworks. In 2007, Connie began a series of interviews with former Balanchine dancers – ninety in all – to explore the phenomenon of Balanchine’s classroom. Why did he teach and not just choreograph? What did he teach? How did he teach? How did his daily class relate to his ballets? Their remembrances of his unorthodox methods and transformative teaching form the basis of IN BALANCHINE’S CLASSROOM.

Filmmaker Connie Hochman.

In addition to the oral histories, Connie launched an extensive and painstaking search for visuals that would bring the story to life. Over years, she discovered a trove of never- before-seen archival footage of Balanchine in America. With approval from The George Balanchine Trust, Connie traveled around the country and to Europe to film Balanchine’s former dancers staging his ballets, teaching class, and passing on their knowledge to today’s generation.

As a first-time filmmaker, Connie consulted with Louis Psihoyos (The Cove, Chasing Extinction), and Dan Geller and Dayna Goldfine (Ballets Russes, The Galapagos Affair), each of whom offered guidance and helped her form the creative team behind IN BALANCHINE’S CLASSROOM.

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

THE LOST LEONARDO, the Whole Story of the Most Talked About Painting of the Century.

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THE LOST LEONARDO is the inside story behind the Salvator Mundi, the most expensive painting ever sold at $450 million. From the moment the painting is bought for $1175 at a shady New Orleans auction house, and the restorer discovers masterful Renaissance brush strokes under the heavy varnish of its cheap restoration, the Salvator Mundi’s fate is determined by an insatiable quest for fame, money and power. As its price soars, so do questions about its authenticity: is this painting really by Leonardo da Vinci?

Unravelling the hidden agendas of the richest men and most powerful art institutions in the world, THE LOST LEONARDO reveals how vested interests in the Salvator Mundi are of such tremendous power that truth becomes secondary.

Now playing at our Encino and Pasadena theaters, this Friday we are expanding this fabulous documentary to our Claremont, Glendale, Santa Monica, Newhall, and North Hollywood venues as well.

DIRECTOR’S NOTES by Andreas Koefoed:

This is a film about the incredible journey of a painting, the Salvator Mundi, the Saviour of the World, possibly by Leonardo da Vinci. It is a true story, yet a fairytale worthy of H.C. Andersen: A damaged painting, neglected for centuries, is fortuitously rediscovered and soon after praised as a long-lost masterpiece of divine beauty. At its peak in the spotlight, it is decried as a fake, but what is revealed most of all is that the world around it is fake, driven by cynical powers and money.

The story lays bare the mechanisms of the human psyche, our longing for the divine, and our post-factual capitalist societies in which money and power override the truth. The painting becomes a prism through which we can understand ourselves and the world we live in. To this day there is no conclusive proof that the painting is – or is not – a da Vinci and as long as there is a doubt, people, institutions, and states can use it for the purpose that serves them the most.

Making this film has been a huge team effort. The producers, writers, editor, and DOP have worked side-by-side and devoted so much of themselves to the project. For that I am deeply grateful. It has been a fantastic voyage into secret worlds that are otherwise entirely inaccessible. Worlds in which anything can be bought and sold, where prestige, power, and money play out beneath the beautiful surface of the art world.

The main character is the painting. Brooding over it is its restorer, Dianne Modestini, who began working on it just after losing her husband, Mario, a world-famous restorer himself. For Modestini the restoration becomes a symbiotic process of mourning in which the painting and Mario at times become one. After she lets go of the painting, it is locked away in a freeport somewhere, leaving Dianne feeling alone, and criticized for her work. Did her restoration go as far as to transform a damaged painting into a Leonardo? She is forced to defend herself and her integrity, and seek closure on the painting and her grief.

What fascinates — and disillusions — me is that art is being used for economic speculation and as a token in political games. Art is a beautiful manifestation of human feelings and expressions throughout history. In my view, art belongs to humanity. Instead of being publicly accessible, it is hidden away in freeports and used for cynical and speculative purposes.

None of the prominent institutions involved in the story – The National Gallery, Christie’s, the Louvre, or states of France and Saudi Arabia – wanted to talk, perhaps unsurprisingly. The supposedly independent scientific and scholarly approach to the painting is under enormous political pressure. In the end, not only the painting is lost, but also the truth itself. The painting, a product of the very Renaissance that valued freedom of science and art, ultimately becomes a victim of vested interests and power games. As Jerry Saltz says in the film, the story is “a telling fable of our time.”

I hope the film will engage, surprise and intrigue the viewers who themselves become detectives in the story, leaving them with a question: What do I believe to be the truth?”

https://www.youtube.com/watch?v=KS4NJgdPITk

FAUCI, a Never-Before-Seen Look at the Man in the Lab Coat, Opens Friday, September 10 at the Royal.

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With his signature blend of scientific acumen, candor and integrity, Dr. Anthony Fauci has become America’s most unlikely cultural icon during the COVID-19 pandemic. A world-renowned infectious disease specialist and the longest-serving public health leader in Washington, D.C., he has overseen the U.S. response to 40 years’ worth of outbreaks, including HIV/AIDS, SARS and Ebola. Crafted around unprecedented access to Dr. Fauci, National Geographic Documentary Films’ FAUCI is a revealing portrait of one of our most dedicated public servants.

Dr. Anthony Fauci and Christine Grady sit at their kitchen table in December 2020. (National Geographic for Disney+)

Directed by Emmy® winners John Hoffman (“Rancher, Farmer, Fisherman,” “The Weight of the Nation,” “Sleepless in America”) and Janet Tobias (“No Place on Earth,” “Unseen Enemy”), the film is produced by Alexandra Moss (“Not Done: Women Remaking America”), and executive produced by Academy Award® winner Dan Cogan (“Icarus”) and two-time Academy Award nominee Liz Garbus (“What Happened, Miss Simone?,” “The Farm: Angola, USA”).

Jenny Fauci, daughter of Christine Grady and Dr. Anthony Fauci, in seated interview. (National Geographic for Disney+)

Directors’ Statement:

Dr. Anthony Fauci’s life is bound by the two great pandemics of our time. The dark early years of HIV/AIDS forged his character, while COVID-19 tested it. Confronting HIV/AIDS — and welcoming public scrutiny — allowed him to approach COVID-19 with an incredible body of experience and knowledge about infectious diseases, politics, human nature and what it takes to get things done.

Dr. Anthony Fauci during an interview at the NIH in Bethesda, MD. (National Geographic for Disney+/Visko Hatfield)

Our film is a portrait of a focused doctor, scientist and leader hurrying to save lives in 2020 and 2021. In the process, this veteran of five previous administrations contended with a president who publicly and consistently contradicted his public health advice. Still, Dr. Fauci never wavered from the truth that science would be critical in ending this global health crisis. He combines heart and mind in a singular way, thinking about the wellbeing of America — and the world — the same way he would when caring for any individual patient.

FAUCI Director Janet Tobias. (National Geographic/Visko Hatfield)

At the same time that Dr. Fauci was sometimes under attack from the government that employed him, so were many other public servants. We wanted to explore what public service means in a very divisive nation, when the goal of fighting a common enemy requires people on all sides to come together. Dr. Fauci has worked at the National Institutes of Health for 50-plus years, providing an unparalleled contribution to the health and welfare of America. In a world of hardworking people, he is likely the hardest working person we’ve ever had the privilege to observe, well known for working 12-hour days, six to seven days a week, over the course of decades. As directors, we were inspired to elevate the career path of public service by shining a spotlight on perhaps the greatest public servant of our time.

Director, John Hoffman. (Credit: National Geographic/Visko Hatfield)

FAUCI also offers a never-before-seen look at the man within the lab coat. Audiences will come to see him as so much more than who he is behind the press conference podium or testifying before Congress: the feistiness imbued by his Brooklyn upbringing, the loyalty he’s displayed over the years to friends — and former adversaries — and even get a taste of how funny (and loving) he is as a dad. Our hope is that those who’ve questioned Dr. Fauci will watch the documentary, too. Perhaps even Fauci critics will discover that he is as multidimensional as they are and worthy of their time and understanding.

— John Hoffman and Janet Tobias

Please note that all FAUCI filmgoers age 12 and older must provide proof of complete vaccination: photo ID + proof of vaccination with matching name. Proof can be the actual card, a photo of the card, or similar digital (QR code, etc.) proof. (Those who have a protected reason for not being vaccinated (medical or religious) may still attend provided they exhibit proof of a negative Covid test taken within 48 hours of show-time.)

FOR ALL OTHER FILMS:
No vaccination proof required at this time.

https://www.youtube.com/watch?v=NBEau86jZjI

UNAPOLOGETIC Follows Black Abolitionist Organizers as they Challenge a Complicit Chicago Administration After Two Police Killings.

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The new documentary UNAPOLOGETIC, opening September 3 at the Monica Film Center and on the Laemmle Virtual Platform, captures a tense and polarizing moment in Chicago’s fight for the livelihood of its Black residents. The film follows Janaé and Bella, two young abolitionist organizers, as they work within the Movement for Black Lives to seek justice for Rekia Boyd and Laquan McDonald, two young Black people killed by Chicago police. They aim to elevate a progressive platform for criminal justice to a police board led by Lori Lightfoot and a complicit city administration, while also elevating leadership by women and femmes. Laemmle Theatres opens UNAPOLOGETIC Friday, September 3 at the Monica Film Center and on the Laemmle Virtual platform.

UNAPOLOGETIC subject Bella Bahhs and director Ashley O’Shay will participate in Q&As at the Monica Film Center after the 7:40 screening on Friday, September 3 and after the 1 and 7:40 PM screenings on Saturday, September 4.

What follows is Ms. O’Shay’s artistic statement:

“In the winter of 2012, Rekia Boyd was just getting started in life. Her friends describe her as someone prone to smiles and laughter. She dotted her i’s with hearts, was a big Drake fan, and expressed herself freely on Facebook while trying to figure out her relationship status. In the winter of 2012, I was also just getting started. I was in my first year at Northwestern University’s film program and was one of less than ten Black people in my class. A slew of racist campus events caused me to feel further isolated and pushed me to begin speaking out about how racism affected my everyday. Slowly but surely, I began integrating these realizations into my art.

“If we don’t get it, shut it down!” Janae takes command at a downtown rally credit: Christine Irvine. 

“In March of that same year, Rekia was hanging out with her friends near her home when she was killed by a stray bullet. It took three years for the police officer who shot her to be brought to court, and after years of waiting for justice, it was deemed a mistrial. It seemed that he would walk away without being held accountable.

“Three years later, people of all ages from neighborhoods throughout Chicago came together to organize around their frustration. With nothing but a borrowed camera and monopod in hand, I joined the hundreds descending upon Chicago Police Headquarters to demand justice. The energy was electrifying. Black women on bullhorns stood in front of crowds leading the space. For the first time, I experienced a different narrative unfolding in the enduring struggle for Black freedom – one led by Black feminist voices. I couldn’t help but see myself in them.

Janae fights to be heard at Chicago Police Board meeting. Credit: Ashley O’Shay

“Shortly after, I began to document two of these voices: Janaé Bonsu, a 24-year-old pursuing her PhD in social work while also rising the ranks of a national activist organization; and Bella Bahhs, a 22-year-old “rap-tivist” from the Westside of Chicago whose artistry and activism seek to heal women harmed by intergenerational effects of incarceration – women like herself. Over the course of two and a half years, we watch as these women grapple not only with what it means to lead a mass movement, but also to enter early adulthood as Black, queer women.

Comrades get in formation to shut down a Chicago highway. Credit: Ashley O’Shay

“I have been a filmmaker for nine years now; Unapologetic is my feature film directorial debut. Five years after beginning production, we have completed the film. While this documentation was certainly important at the time of filming, it proves even more essential now, especially in light of the recent killings of George Floyd and Breonna Taylor in 2020. As Lori Lightfoot has become the first Black, openly-queer mayor of Chicago, mainstream media has championed her as a symbol of progressive growth. However, the current reality in the city counters that. After years of intentional work, organizers are working to educate the community around abolishing and divesting from policing, despite a new mayor bolstered by representative politics. Unapologetic intentionally centers the narratives of the Black queer feminist organizers who brought forth the progressive platform that set the stage for Chicago’s historic shift in leadership.

Janae’s mom speaks her truth. Credit: Ashley O’Shay

“I have always known and felt the presence of Black resistance in my life. However, the strong feminine leadership in the Chicago movement caused me to question where my history had been placed. How might my world have been different if I saw a young PhD student or a rapper that looked like me organizing a mass movement? Unapologetic has given me an opportunity to discover more about myself through this legacy of resistance, and take a more active role in it.

Bella and her auntie hit a Chicago step at the Black Soul Nation picnic. Credit: Ashley O’Shay

“What does one usually require of a Black movement leader? Certainly not femme. Certainly not queer. Certainly not flawed, or quick to anger, or overly opinionated. By focusing on this refreshing counter narrative within the Movement for Black Lives, I wanted to recognize this heroic and thankless work, catalyzing empathy, understanding, and hope in all viewers at such a critical time for Black lives.” — Ashley O’Shay

UNAPOLOGETIC director Ashley O’Shay.
https://www.youtube.com/watch?v=wUPVLvL9Rsk

ON BROADWAY, Featuring interviews with Helen Mirren, Christine Baranski, August Wilson, Hal Prince, James Corden, Alec Baldwin, John Lithgow, Tommy Tune, Hugh Jackman and Ian McKellen, Opens Friday.

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As theater goers prepare for the return of Broadway after an unprecedented absence of eighteen months, Kino Lorber is proud to release Academy-Award nominee Oren Jacoby’s documentary ON BROADWAY, an enlightening and moving tribute to one of the most vibrant legacies of New York City, and the inside story of Broadway’s last self-reinvention as told by an all-star cast including Helen Mirren, Christine Baranski, August Wilson, Hal Prince, James Corden, Alec Baldwin, John Lithgow, Tommy Tune, Hugh Jackman and Ian McKellen.
ON BROADWAY opens August 27 at the Laemmle Royal, Laemmle Claremont, Laemmle Town Center 5, and Laemmle Playhouse 7 theaters as well as September 3 at the Laemmle Newhall.
Helen Mirren
Broadway was on the verge of bankruptcy in the 70s with talk of tearing down theaters and replacing them with parking lots; the plays were considered obsolete and audiences severely declining. The documentary explores how, thanks to innovative work, a new attention to inclusion and the sometimes-uneasy balance between art and commerce, an industry on the verge of extinction not only avoided collapse, but managed to reinvent itself and come back stronger.
James Corden
Legends of the stage and screen take us behind the scenes of Broadway’s most groundbreaking and beloved shows, from “A Chorus Line” to “Angels in America” and “Hamilton,” offering a hurly-burly ride through Times Square, once again the main street of American show business.

 

Ian McKellen
Also featured are interviews with some of today’s most influential playwrights, directors, choreographers, performers and producers such as Alexandra Billings, David Henry Hwang, Oskar Eustis, Nicholas Hytner, Jack O’Brien, George C. Wolfe, Daniel Sullivan, Trevor Nunn, Julie Taymor, Sonia Friedman, Jeffrey Seller and Tony Kushner. They tell the stories of the remarkable changes they helped initiate or witnessed over the past 50 years, the devastating impact of the AIDS epidemic on the theater community, and track the breakthrough works and artists which made Broadway into a venue where one can find everything—from the experimental and iconoclastic to the mainstream and commercial.
Hugh Jackman

“A sunset view of the New York City skyline, speckled with lights, while George Gershwin’s “Rhapsody in Blue” plays. Old Broadway marquees. Moving snapshots from a Broadway of more recent past — a flight of Hogwarts wizards, the swinging and snapping Temptations, the triumphant gaze of a brown-skinned Alexander Hamilton. ON BROADWAY sure knows how to work a theater-lover’s heart.” (Maya Phillips, New York Times)

Christine Baranski

“Enhanced by a wealth of archival footage and clips from notable productions, the theatrical history lesson flows smoothly and proves consistently entertaining.” (Frank Scheck, Hollywood Reporter)

https://www.youtube.com/watch?v=kp7gOGR-mHY

 

Bogie & Bacall: THE BIG SLEEP 75th Anniversary Screenings at the Royal, Playhouse & Newhall.

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Laemmle Theatres and the Anniversary Classics Series present the classic 1946 detective mystery THE BIG SLEEP starring Humphrey Bogart and Lauren Bacall in a series of three screenings at different locations: August 31 (Royal in West Los Angeles), September 1 (Playhouse in Pasadena), and September 2 (Newhall in Santa Clarita).

THE BIG SLEEP is an engrossing mystery thriller that has defied classification since its premiere in 1946. Although it is now considered a cornerstone of film noir, critics and journalists through the years have also described it as a black comedy and even a “screwball love story.” Deftly directed by Howard Hawks and written by William Faulkner, Leigh Brackett and Jules Furthman adapting Raymond Chandler’s first novel, it is the second teaming of Bogart with his wife Lauren Bacall, after the two created a screen sensation in Hawk’s To Have and Have Not in 1944. The film is noted for its convoluted plot (just try to follow it), partially because several scenes were re-written and re-shot for the second, final release in 1946. (A 1945 version was shown to U.S. troops overseas at the end of WWII.) The 1946 official release was added to the National Film Registry in 1997, and it is this version that we will present.

Bogart’s turn as shrewd shamus Philip Marlowe solidified his reputation, and Chandler praised him as “so much better than any other tough-guy actor.” His verbal interplay with Bacall flirted with contemporary screen censorship, as the duo wove the mystique of “Bogie and Bacall.” Critics of the day were as baffled by the plot as audiences, but as Leonard Maltin has pointed out, the movie is “so incredibly entertaining that no one has ever cared.” That high entertainment quotient stems from Hawk’s sharp direction, the biting and witty script, actors at the top of their game (Dorothy Malone, Martha Vickers, and Elisha Cook Jr. among them), atmospheric black-and-white cinematography by Sid Hickox, and a noteworthy music score by Steiner.

Movie Review Roundup: SEARCHING FOR MR. RUGOFF, THE MEANING OF HITLER, THE MACALUSO SISTERS, EMA.

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Our fine local daily could not cover some excellent recent films so we are mandating a quick recap of film critics’ assessments in other outlets to get these titles get a booster shot of attention:

SEARCHING FOR MR. RUGOFF: Owen Gleiberman of Variety called the film “an enthralling documentary that movie buffs everywhere will want to see… as essential as any chapter of “Easy Riders, Raging Bulls.” Dean of American film critics Leonard Maltin wrote, “It’s rare that a documentary affects me on a personal level but this evoked a flood of memories. The film captures a time and place when movies really mattered to a whole generation. I’m not saying it was better or worse than it is today–just different.” Nicolas Rapold of the New York Times admitted he “got the warm-and-fuzzies from seeing the love here for moviegoing and exhibition, which [Rugoff] goosed with gonzo showmanship.”

THE MEANING OF HITLER: Variety’s Owen Gleiberman wrote, “we go into THE MEANING OF HITLER craving that millimeter of insight, of intrigue and revelation. And the film provides it. It ruminates on Hitler and the Third Reich in ways that churn up your platitudes.” “Myth-busting at its most vital,” wrote Sheri Linden of the Hollywood Reporter. Eric Kohn of Indiewire was forceful: “The movie isn’t just another cautionary tale; it’s a jagged intellectual wake-up call that cuts deep, and America can’t hear it enough.”
THE MACALUSO SISTERS: As of this writing, the new Italian film The Macaluso Sisters still boasts a rare “100% Fresh” rating on Rotten Tomatoes, with praise such as: “Haunting and powerful.” (New York Times); “In just her second feature after the taut street-stand-off drama A Street In Palermo seven years ago, Dante sets a firm seal upon her cross-disciplinary emergence as a director of unusually vivid empathy.” (Variety); “Dante’s film, beautifully done, is never more resonant than when reminding us of the lingering impact of childhood drama and the devastating nature of childhood trauma.” (Times [U.K.]).

The L.A. Times did review the combustible new Chilean film EMA. Katie Walsh called Pablo Larraín’s (Jackie, Neruda) latest “a darkly sensual fable of motherhood and the modern family.” Hannah Strong of Hyperallergic wrote, “In an age of sanitized mainstream cinema, it’s thrilling to watch a film that revels in carnal pleasures.” Writing for the Sydney Morning Herald, Paul Byrnes called the film “mesmerising,” adding, “With a pulsing, angular reggaeton soundtrack from Chilean-American composer Nicolas Jaar, the film throbs and leaps rather than walks.” Check out EMA‘s red band trailer.