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FLOW may be the best animated film of the year.

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It has been another excellent year for animated features. Inside Out 2, The Wild Robot, Look Back, Art College 1994, Chicken for Linda and Memoir of a Snail stand out; Moana 2 just had a record-setting weekend; and we still have The Lord of the Rings: The War of the Rohirrim, The Colors Within and The Day the Earth Blew Up: A Looney Tunes Movie to look forward to.

But, as Yoda said, “there is another.” The adventure-fantasy Flow follows a courageous cat after his home is devastated by a great flood. Teaming up with a capybara, a lemur, a bird, and a dog to navigate a boat in search of dry land, they must rely on trust, courage, and wits to survive the perils of a newly aquatic planet. From the boundless imagination of the award-winning Latvian filmmaker Gints Zilbalodis (Away), Flow is a thrilling animated spectacle as well as a profound meditation on the fragility of the environment and the spirit of friendship and community. Steeped in the soaring possibilities of visual storytelling, it is a feast for the senses and a treasure for the heart and we open it this Friday at the Laemmle Claremont, Glendale, Monica Film Center, and Newhall.

“Critic’s Pick! Grade: A! A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory, and, beyond that, groundbreaking too. The anthropomorphic animal characters of 21st century U.S. animated features have nothing on the animal stars of ‘Flow.'” – Christian Blauvelt, Indiewire

“At the risk of sounding hyperbolic, there’s something about the purity of great animated storytelling that can shatter your heart and then make it whole again. (Think Toy Story 3.) Latvian director Gints Zilbalodis’ captivating second feature, Flow, is that kind of marvel, a vividly experiential white-knuckle survival adventure that takes place in a world on the brink of ruin. Told entirely without dialogue, this tale of a cat that evolves from self-preservation to solidarity with a motley crew of other species is something quite special” – David Rooney, The Hollywood Reporter

“Flow is as hard to resist as a pair of plaintive, saucer-shaped eyes peering out from a bundle of fur. Gints Zilbalodis’s second feature is a rousing animated adventure in which a devastating flood obliges an independent cat to seek allies among the animal kingdom. Technical virtuosity is matched by storytelling vigour and dramatic heft in a film with a ready appeal to ailurophiles and animal lovers of all ages.”- Allan Hunter, Screen Daily

INSIDE THE ARTHOUSE ~ new podcast episode with Professor Ross Melnick on the 100th anniversary of Arthouse Cinema.

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The newest episode of Inside the Arthouse just dropped and it’s a fascinating one. Hosts Greg Laemmle and Raphael Sbarge discuss the centenary of arthouse film with professor, historian, author and Academy Film Scholar Ross Melnick. It’s a lively conversation about the amazing history of arthouse film — Where it started, how far it’s come, and where is it today. Laemmle, third generation arthouse theater owner, adds his perspective, as the trio explores the last century considers the future of arthouse.

Here’s a taste from the beginning of their conversation:

ROSS MELNICK:  The history of arthouse theaters is about a hundred years old.  It really starts around 1925 with Simon Gould and the film guild and the beginning of what were then called “little cinemas.”  So the little cinemas grew out of what was called the “little theaters.”  Little theaters were performing arts theaters across the country.  There were almost 5000 of them.

RAPHAEL SBARGE:  Like vaudeville, kind of?

ROSS MELNICK:  No, actually, literally for performing arts.  For plays and performances that were avant-garde, experimental, off of the…mainstream.  And there’s a growing movement in the ’20s to kind of push away from mainstream narratives and create theaters, legitimate theaters, that were for live performances.  This is across the country.  And so, inspired by little theaters, little cinemas grew, sometimes even in previously legitimate houses, to start showing films that were also experimental, avant-garde and, in this case, often foreign.  They were sort of growing out of an interest in foreign films and if you — with the risk of boring you, let me take you back just a few years earlier, which is that World War I happens between ’14 and ’18.  And when it’s over there’s a huge anti-German sentiment in the United States.

GREG LAEMMLE:  Massive.

ROSS MELNICK:  Massive, to say the least.  And no one wants to show German films.  The only person that’s willing to show a German film is himself a German-American.  A guy named Samuel “Roxy” Rothafel, who most people know as Roxy and who, of course, is the person who created Radio City Music Hall.  He founded it.  He ran the Roxy, the Capitol, the Strand, the Rialto, the Rivoli.  All the major movie houses or many of the major movie houses in New York were run by Roxy.  And when Roxy, underneath Samuel Goldywn — we’ll come back to Samuel Goldywn and later we’ll talk about a different company that his progeny ran — but when Roxy ran the Capitol Theater, he was really interested in this movie called Madame Du Barry.  It’s an Ernst Lubitch film.  1919.  Roxy saw it and said, “I’m going to bring this movie here.”  And he took that nine-reel film, and he cut it to six.  He made new inter-titles…and he released it as Passion.  The Capitol Theater in New York was 5,300 seats.

RAPHAEL SBARGE:  Oh, my God.

ROSS MELNICK:  So it’s the largest theater in the United States.  It was also a trade industry darling…and Roxy was running it and thought, “I’m going to bring this film.”  So it broke the unofficial German boycott, the anti-German boycott, and suddenly there was this massive hit of a foreign film.

Watch the whole conversation here:

The superb LA COCINA on Inside the Arthouse and opening Friday at the Monica Film Center.

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The latest episode of Inside the Arthouse features La Cocina filmmaker Alonso Ruizpalacios. The drama takes us behind the scenes at a Times Square restaurant, illuminating the lives of the people who prepare and serve our meals while chasing the American Dream. The ensemble cast, which includes two-time Academy Award-nominee Rooney Mara, delivers stunning performances in this beautifully shot film.

Laemmle Theatres opens La Cocina this Friday at the Monica Film Center. Writer-director Alonso Ruizpalacios will participate in Q&A’s after the 7 PM screening at the Monica Film Center on Friday, November 1st and the 4 PM screening on Saturday, November 2. He will introduce the 7 PM screening on Saturday, November 2. Producer Ivan Orlic and actor Eduardo Olmos will participate in a Q&A after the 1 PM screening on Saturday, November 2.

“A chaotic symphony of nearly two dozen characters, this black-and-white indie confection (garnished with sparing touches of color) mixes biting social critique with stylistic bravura.” ~ Peter Debruge, Variety
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“There’s a surging life force felt in every scene of Alonso Ruizpalacios’ superbly acted La Cocina — at times ebullient but more often on edge, if not careening dangerously toward disaster or violence.” ~ David Rooney, Hollywood Reporter

“La Cocina Mexican writer/director Alonzo Ruizpalacios’ searing black-and-white slice of nightmare, is a monumental work of righteous anger.” ~ Robert Daniels, RogerEbert.com

“La Cocina is a phenomenal showcase for Briones, who gives one of the most mesmerizingly multi-faceted performances of the year.” ~ Brian Tallerico, RogerEbert.com

“La Cocina goes further than recasting the American dream as a nightmare and the much sought-after visa as a ticket to infinite exploitation.” ~ William Repass, Slant Magazine

UNION directors Brett Story and Stephen Maing on the latest episode of INSIDE THE ARTHOUSE.

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The newest episode of Inside the Arthouse features the fantastic documentary Union. Having received a Special Jury award at Sundance, and played thirty of the most prestigious documentary film festivals around the world, it opens October 25 at Laemmle Monica Film Center and Glendale. (We’ll have multiple in-person Q&A’s with the filmmakers and the main subject, Chris Smalls; details here.)

Through intimate cinema vérité, Union chronicles the extraordinary efforts of a group of warehouse workers as they launch a grassroots  campaign to unionize an Amazon fulfillment center on Staten Island.

The filmmakers document the struggle from day one against one of the largest and biggest companies in the world, offering a gripping human drama about the fight for power and dignity in today’s global economy.

The movie’s themes are immediate and timely, as we watch the fight for labor rights. It’s a David-and-Goliath story that speaks to current political conversations about income inequality, workers’ right, and much more.

Co-directors Brett Story and Stephen Maing speak with Inside the Arthouse hosts Greg Laemmle and Raphael Sbarge to discuss the challenges they faced making Union, the themes they discovered, and the journey to this moment — theatrical release.

It’s a powerful conversation you won’t want to miss.

New Inside the Arthouse Episode Today: STRIPPED FOR PARTS: AMERICAN JOURNALISM ON THE BRINK.

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Stripped for Parts: American Journalism on the Brink documents a crisis: Hedge fund Alden Global Capital is quietly gobbling up newspapers across the country and gutting them. No one knows why, until journalist Julie Reynolds begins to investigate. Her in-depth reporting, over several years, triggers rebellions across the country by journalists working at Alden-owned newspapers. Backed by the NewsGuild union, the newsmen and women go toe-to-toe with their “vulture capitalist” owners in a battle to save and rebuild local journalism in America. Who will control the future of America’s news ecosystem: Wall Street billionaires concerned only with profit OR those who see journalism as an essential public service and the lifeblood of our democracy?

We open Stripped for Parts: American Journalism on the Brink this Friday at the Royal. Filmmaker Rick Goldsmith will participate in Q&As following the 4:10 and 7:10 PM screenings on Saturday, October 5.

The latest episode of Inside the Arthouse, hosted by Laemmle Theatres President Greg Laemmle and Emmy award-winning director-actor Raphael Sbarge, is all about Stripped for Parts. You can hear it wherever you get your podcasts or right here on YouTube. (Also, watch for an Inside the Arthouse episode with The Outrun filmmaker Nora Fingscheidt this Friday!)

Dropping Today: The First Episode of INSIDE THE ARTHOUSE.

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Introducing the new video podcast Inside the Arthouse. Hosted by Greg Laemmle, President of Laemmle Theatres, and actor and Emmy award-winning director Raphael Sbarge, Inside the Arthouse is an insider’s perspective on filmmakers and the people responsible for the movies showing on arthouse screens across the U.S.

Episode 101: Merchant Ivory: A Conversation with Stephen Soucy is now live everywhere you get your podcasts.

Laemmle Theatres opens Merchant Ivory this Friday at the Royal/West L.A. and Town Center/Encino. In his Hollywood Reporter review, David Rooney wrote of the film, “anyone with a fondness for…what might be described as a gentlemen guerrilla filmmaking operation will find immense pleasure here.” Merchant Ivory director Stephen Soucy will do in-person Q&As following the 7 PM screenings at the Royal on August 30 and 31. Film critic David Ansen will moderate the Q&A on the 30th.

Learn more about Inside the Arthouse at Insidethearthouse.com.

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Greg Laemmle and Raphael Sbarge Launch New Video Podcast INSIDE THE ARTHOUSE.

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Greg Laemmle, President of Laemmle Theaters, along with actor and Emmy Award-winning director Raphael Sbarge, are launching a new  Video Podcast called INSIDE THE ARTHOUSE. The show is dedicated to highlighting new  releases, repertory classics, filmmakers, distributors, and the key personalities who bring movies to the big screen. INSIDE THE ARTHOUSE will be filmed and recorded at the Laemmle Royal Theatre, the 100-year-old theater that has been operated by three generations of Laemmles for the past half century.  

Laemmle says, “My family has been dedicated to providing a home for independent, foreign and documentary film for almost a century, and we have decided to launch INSIDE THE ARTHOUSE in order to promote the release of new films that will ultimately play in arthouses all across the country.” 

“Our interviews will be recorded in person or via Zoom, with filmmakers appearing large on  the screen,” says Sbarge, an independent filmmaker himself. “Opening a movie in theaters requires all the support they can get, and INSIDE THE ARTHOUSE, is dedicated to the  celebration of seeing films in theaters.” 

Their first guests include Stephen Soucy, the director of MERCHANT IVORY, a documentary about art house mainstays Ismail Merchant and James Ivory; the Golden Lion-winning director of the Swedish film PARADISE IS BURNING, Mika Gustafson; the writer and director  of PREY FOR ROCK AND ROLL, Cheri Lovedog and Alex Steyermark, re-released in theaters via Kino Lorber, for their 20th anniversary; and the co-directors of the new documentary UNION, out of the Sundance and Tribeca film festivals, Brett Story and Steven Main.

In subsequent episodes – initially to be released every two weeks – INSIDE THE ARTHOUSE will focus on new releases and repertory classics, filmmakers, distributors, and  personalities who are responsible for bringing movies to the big screen. The first episode of INSIDE THE ARTHOUSE will premiere on August 28, 2024. The show can be found on  YouTube and all major podcast platforms. For more information, visit www.insidethearthouse.com!

“When Universal’s Basketball Team Played in Hitler’s 1936 Olympics.” ~ Universal Studios basketball & Laemmle.

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From Greg Laemmle:
Robert Laemmle was an All-City basketball player at John Marshall High School in Los Feliz and went on to play college basketball for L.A. City College and L.A. State. He was recruited to play at Seattle University, where he would have been the power forward opposite one of the finest small forwards of all time, Elgin Baylor. Seattle’s loss, however, ended up paying big dividends for L.A. moviegoers.
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Bob had no knowledge of this recent story from The Ankler and was amazed to hear of Carl Laemmle Jr.’s love of the game.  And even before reading the story, Bob (who is almost 89-years old) asked if Sam Balter and Frank Lubin were on the team.  In his later career as a broadcaster, Sam Balter interviewed my father and complimented him on how he played the game. And even if he was a generation older than Bob Laemmle, the two played together on Amateur Athletic Union teams in the late 1950s.