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Greg Laemmle on the return of the senior moviegoer.

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We know that over the past four years, you may have become accustomed to hearing bad news from us.  So we are pleased to share some good news. Qualified good news. But still, a sign of improvement.

It appears that older audiences are returning in larger numbers. That’s welcome news for all of us at Laemmle Theatres, and at art houses across the U.S. Before the pandemic, the hand wringing was about the “graying” of the arthouse audience. But since reopening, as arthouses have had success with younger-skewing films, the concern instead has been about how to reconnect with the older audiences that were once weekly guests at our theaters.  

Now, we love showing films like HUNDREDS OF BEAVERS and LOVE LIES BLEEDING. But we also love showing the English-language period films (i.e., Merchant Ivory films), foreign-language romantic dramas (pick your prototypical French film) and non-studio American independent films that are aimed at an audience that grew up in a world without cell phones and the internet. And since reopening, while we’ve had some success with films like THE DUKE, THE TASTE OF THINGS and MOVING ON, we can’t help but notice that the numbers are still not where they would have been in the days before COVID.

But starting at the end of 2023, it felt as if things were beginning to turn around a bit. Films like ANATOMY OF A FALL and THE HOLDOVERS made more of a mark at the box office than “comparable” films did in 2021 and 2022.  And you also have FALLEN LEAVES doing more business than almost any prior film from director Aki Kaurismäki.

So far this year, and leaving aside films that were part of the Oscar race, films like DRIVING MADELEINE, ONE LIFE, THE OLD OAK, FAREWELL MR. HAFFMANN, COUP DE CHANCE and WICKED LITTLE LETTERS are performing better. In fact, the latter four are hanging around, showing good word-of-mouth. These films are still doing a fraction of the business that they would have done pre-pandemic. But better is good. And hopefully, we and our distributor partners can build on this trend.

“When pandemic restrictions eased, many couldn’t wait to get back to the movie theater,” wrote Jon Keller of CBS last year. “But a new study found older adults are in no rush to return. And that trend is about more than just fear of COVID. Before the pandemic, people over 40 bought 41% of all movie tickets in the U.S. and Canada.”

It’s not COVID rates, which a quick check of the L.A. County Department of Public Health website shows are vanishingly low. And the fact remains that seeing a movie in a theater instead of at home is still 1000% better. (We’ll never tire of quoting the filmmaker Andrey Zvyagintsev, who compared watching a movie at home to reading a novel while skipping every other word.)

According to one of Variety’s recent dispatches from the annual trade show CinemaCon, “the box office hasn’t recaptured its pre-pandemic stride — studios estimate that roughly 15% to 20% of frequent moviegoers have yet to resume their old entertainment habits now that COVID has dissipated. Plus, the labor strikes that consumed the media industry for much of the previous year as actors and writers hit the picket lines resulted in production delays that left theaters with fewer movies to hawk on their marquees.”

Big budget popcorn movies that mostly appeal to younger audiences can be fantastic and we happily screen them at some of our venues, but those kinds of films are not Laemmle Theatres’ popcorn and butter, to alter a phrase. The current drama CIVIL WAR may be a surprise hit because it combines action movie elements with serious subject matter, drawing cinephiles of all ages. But what about films with zero guns which are purely cerebral? If audiences don’t turn out for these films, fewer will get made or picked up for distribution; it’s just supply and demand.

How do we reach older moviegoers when the L.A. Times isn’t running reviews?

We are happy to see some new signs of strength recently. But more would be better. So if you know an older moviegoer who used to attend regularly, but no longer does, we’d like to hear why not. Because the existence of a local movie theater that can show, for example, classic reissues like CLASSE TOUS RISQUE (opening May 3 at the Royal!) or the artful woman-made Senegalese drama BANEL & ADAMA (opening June 14 at the Royal!) is not a given.

Greg Laemmle’s Top Ten Movies of 2023.

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What were your favorite films of 2023, an excellent movie year? Click here to tell us and we’ll enter you in a raffle to win Laemmle gift cards! Here’s Greg Laemmle on the year just past and his top ten films:
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While we are still in the process of getting all the numbers together, early projections are that we finally got back into the black in 2023. I know that this post isn’t supposed to be about the economic state of things, but let’s at least take a moment to express thanks that the financial picture for the exhibition business is looking better after three years of less-than-stellar ticket sales.
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Leaving aside the numbers, the following are the films that I found to be the most memorable of 2023. A few are still playing in theatres, so I encourage you to check them out while you can.
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#1 – AFIRE – This summer release from director Christian Petzold may have suffered commercially because it was so hard to define. Was it a drama? Or a comedy? And a comedy from Germany? Whoever heard of such a thing. But while it may be hard to pigeonhole this picture, it should be easy to enjoy and appreciate the complete command the filmmaker has working with a superb cast of actors.
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#2 – ANATOMY OF A FALL – This October release is still playing in theatres. And if there is any justice, it will be recognized on Tuesday with Oscar nominations for writer director Justine Triet, lead performer Sandra Huller, and that rarest of things, a nomination for a foreign language film as Best Picture.
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#3 – SPIDER-MAN: ACROSS THE SPIDER-VERSE – While I appreciated the daring animation style of the preceding film SPIDER-MAN: INTO THE SPIDER-VERSE, I was truly wowed by what this film delivered both in terms of further stylistic daring, and a real emotional pull in the storytelling. I believe the film is being brought back this week so if you can, go see it.
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#4 – THE TEACHERS’ LOUNGE – Another terrific film from Germany. And this one is the German entry for the Best International Feature category at the Oscars. Look for it to receive a nomination on Tuesday, and make sure to see it when it goes into wider release following the nominations.
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#5 – PAST LIVES – A word-of-mouth hit that played all summer, this wistful romance is a terrific debut for filmmaker Celine Song, and a superb showcase for actress Greta Lee.
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#6 – THE HOLDOVERS – Writer-director Alexander Payne and actor Paul Giamatti re-team nearly 20 years after their success with SIDEWAYS, and the result is a film of deep maturity and thoughtfulness. With a story and visual style (and soundtrack) that beautifully evokes some of now-classic films and filmmakers of the early ’70s, this is one to see.
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#7 – THE TASTE OF THINGS – The pacing in Tran Anh Hung’s film is deliberate. But also perfectly matched to a time period where the world was not in such a rush. So relax and enjoy the exquisite scenes of food preparation, not to mention the pleasure of seeing the luminous Juliette Binoche.
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#8 – THE ZONE OF INTEREST – A monster movie. But a monster movie where the monsters have spouses, children, pressure at work, and all the other things that we can relate to in our everyday lives. Director Jonathan Glazer takes Hannah Arendt’s idea of “the banality of evil” and it is both terrifying and serene.
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#9 – BOBI WINE: THE PEOPLE’S PRESIDENT – I didn’t see as many of this year’s documentaries as I would like. But of the one’s I did see, this is the best.
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#10 – AIR – I love it when Hollywood makes a thoughtful movie for adults. And I especially love it when it makes such a movie without overly stressing the “importance” of the movie. While the Oscar nominations may end up going to other pictures, for my money, this is the best put-together studio film of the year. Kudos to director Ben Affleck, screenwriter Alex Convery, star Matt Damon, and the always fabulous Viola Davis for their work here. Please, Hollywood, send us lots more like this one in the years to come.
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The business is still in the process of recovering from the pandemic closure. But it is recovering. So another request Please keep coming out to see stuff in theatres, and be a part of rebuilding a vibrant moviegoing scene that has something for everyone.

Now more than ever: Greg Laemmle on singing along to FIDDLER ON THE ROOF in times like these.

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From Greg Laemmle: “I started this as a Christmas Eve event (tradition!) specifically because I wanted to celebrate that as Jews in America, we did not need to hide in our homes. My grandmother hated this time of year because she had memories of her childhood in Tsarist Russia and the frequent episodes of violence (pogroms) against the Jewish communities there around the holiday. The America that I grew up in was open enough that it could accept the diversity of our society, recognizing that Americans of all religious (or non-religious) backgrounds were free to celebrate the end of year period in their own fashion. I’m not sure America is as accepting right now, but I’m not prepared to cede this ground to those pushing for a more restrictive vision of what America is. Now, more than ever, it is important that we not hide.  And now, as much as ever, we need to feel the joy of the free association that is a Constitutional right of living in America. Fiddler on the Roof tells a complicated tale about the fragility of living as a minority in an oppressive state. But it also shows the joy and beauty of life, and hints at the potential of modernity to provide a freer world that does not discriminate based on race, religion or gender. LOVE is the force that truly shakes the foundations of Tevye’s world. And LOVE, not HATE, will save us from our current predicaments.”

JOIN US on DEC. 24th for our umpteenth annual alternative Christmas Eve, the Fiddler on the Roof Sing-a-Long! Screening at 7 o’clock at our Claremont, Glendale, Newhall, NoHo, West L.A. and Encino theaters.

Belt out your holiday spirit … or your holiday frustrations. Either way, you’ll feel better as you croon along to all-time favorites like “TRADITION,” “IF I WERE A RICH MAN,” “TO LIFE,” “SUNRISE SUNSET,” “DO YOU LOVE ME?” and “ANATEVKA,” among many others.

We encourage you to come in costume! Guaranteed fun for all. Children are welcome (Fiddler is rated “G”) though some themes may be challenging for young children.

Prices this year start at $16 for General Admission and $13 for Premiere Card holders. Typically, Fiddler sells out … so don’t miss the buggy!

Originally based on Sholem Aleichem’s short story “Tevye and His Daughters,” Norman Jewison’s adaptation of the long-running Broadway musical is set in a Russian village at the beginning of the twentieth century. Israeli actor Topol repeats his legendary London stage performance as Tevye the milkman, whose equilibrium is constantly being challenged by his poverty, the prejudice of non-Jews, and the romantic entanglements of his five daughters. Fiddler was nominated for eight Oscars, including Best Picture, Director and Actor, and won three, for Cinematography, Sound and Score (John Williams).

Greg Laemmle on deactivating Laemmle Theatres’ Twitter accounts.

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From Laemmle Theatres President Greg Laemmle:

My wife’s uncle Bert has been guiding a Sunday morning family Zoom that started up during the early days of the pandemic.  While listening in, I have often heard him repeat a guiding principle for the group discussion.  Before speaking, ask yourself these questions:

1.) Is it true?
2.) Is it kind?
3.) Is it necessary?

A quick online search provides a number of different attributions.  This could come to us from Socrates (via Plato).  Another version is attributed to the great Sufi mystic, Rumi.  Or maybe it comes from radio host Bernard Meltzer …who may have picked it up from any number of Buddhist sources.  Whatever the origin, the point is that across multiple cultures and philosophic traditions, we are urged to think before we speak.

And then there’s the platform formerly known as Twitter.

While Twitter has always had a confrontational side, adequate content moderation kept rancid contributors in check, allowing it to better serve more positive activities like fostering community, encouraging democracy, providing a space for underserved voices, and allowing for a bit of irreverent fun. However, since its sale last year, Twitter is increasingly a bullhorn for hate and harassment, and the unfettered dissemination of conspiracy theories, disinformation, and outright lies. The new owner, who has loudly proclaimed himself a “free speech absolutist,” recently crossed a dangerous line into fascist hypocrisy by suing journalists for using their free speech rights to point out how corporations’ ads are appearing next to neo-Nazi content.  He regularly amplifies hateful posts and memes to his 164 million followers and for his latest provocation he has re-platformed the ghoulish torturer of Sandy Hook families, Alex Jones.

Twitter is not the only problematic platform.  Social media in general has encouraged disinhibition, contributing to a coarsening of public discourse. But whatever their faults (and crimes), at least these other platforms are working to improve so that they can have a greater positive influence.  Twitter has crossed into territory where the bad most definitely outweighs the good.  And from what we can see, they are aiming to go even lower.

At Laemmle Theatres, we have a high degree of tolerance for diverse and provocative voices.  But this chorus is offered in the hope that our community will be enriched by open discourse.  It is the exact opposite of the negative and hateful commentary that has become the bread and butter of Twitter.

At this time, we are deactivating our accounts on Twitter.  We hope to return, but only after serious efforts have been undertaken to provide greater content moderation and to root out hate speech.  This is not a First Amendment issue.  The Constitution limits the government’s ability to restrict speech.  But as a private platform, Twitter has the right (and responsibility) to restrict the most extreme and hateful speech.  They just don’t want to.

To connect with us on other platforms, visit laemmle.com/connect.

And for the New Year, let’s all make a resolution to better follow Uncle Bert’s maxim.  Whether in person or online, always remember the three rules when communicating.  Be truthful and kind, and always try to only say what is necessary for a listener to hear.

Greg Laemmle

Todd Haynes’ MAY DECEMBER and the 35th Anniversary of the Mighty Zeitgeist Films.

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 After a couple disappointing features, it was great to see Todd Haynes, one of our finest filmmakers, return to his indie roots with the 2021 documentary The Velvet Underground.  And now with May December — which we open May 17 at the Glendale, Monica Film Center, NoHo and Town Center — we have another feature that can stand alongside his masterpieces like Safe, Far from Heaven, I’m Not There and Carol.  This is also a moment to remember his first feature, Poison, and the use this as an opportunity to honor New York-based boutique distributor Zeitgeist Films (the distributor of Poison) on their 35th anniversary. Long and successful careers require talent, to be sure.  But the role of early supporters is also key. And from Todd Haynes to Atom Egoyan and Francois Ozo to Christopher Nolan, Zeitgeist has championed so many amazing talents.  ~ Greg Laemmle
Stephen Saito of The Movable Fest recently spoke with Zeitgeist founders Nancy Gerstman and Emily Russo about their company, the ingenuity and drive it took to make it a success, their favorite films, and much more. It’s a fascinating glimpse into the changing world of independent film distribution from two experts. Saito introducers the interview like this:

For much of cinema history, the sight of a big Z slashing across the screen promised the fictional adventures of a sword-wielding caped crusader, but starting in 1988, that big red Z started to stand for something else amongst discerning cinephiles, as real life heroes Nancy Gerstman and Emily Russo believed there was a better way forward for the films they loved. Starting Zeitgeist Films out of a small West Village apartment after working a variety of jobs in film distribution, the two have played an outsized role in shaping film culture in the decades since, taking a quality over quantity approach to making room in a crowded American theatrical marketplace for some of the most daring work from around the world. Limiting their acquisitions to a manageable slate of four to five releases a year where each one would receive their undivided attention, a necessity when championing artists such as Bruce Weber (“Let’s Get Lost”), Peter Greenaway (“The Draughtman’s Contract”), Derek Jarman (“Blue”) and Guy Maddin (“Cowards Bend at the Knee”) without deep pockets, the duo has not only had the foresight to see the enduring nature of the films themselves that they release, but the value of time in how much they put into each film and how it has afforded them the sustainability to keep going.

“We noticed that there were companies that started that spent a lot of money on films and would acquire a lot and those companies went out of business extremely quickly,” Gerstman said recently on the occasion of the company’s 35th anniversary. “And we wanted to stay in business and we were able to.”

Their latest milestone has led the Metrograph in New York to pay Zeitgeist a much-deserved month-long tribute with an in-theater 13-film retrospective, kicking off this Friday with Gerstman and Russo introducing a newly spiffed up 4K restoration of “Sophie Scholl: The Final Days,” Marc Rohemund’s unfortunately all-too-relevant WWII tale of the Munich University student who stood up against the infiltration of Nazi thought at school, and an additional 20 films being made available on the theater’s streaming service Metrograph-At-Home, tilting towards the visionary meta-fiction works from Yvonne Rainer, Atom Egoyan and Jennifer Baichwal that the distributor pushed long before such playful documentaries were in fashion. Guests of the series such as Raoul Peck (“Lumumba”), Christine Vachon (“Poison”) and Astra Taylor (“Examined Life”) reflect the range of Gerstman and Russo’s belief in taking advantage of the big screen’s ability to hold a variety of perspectives, yielding a catalog deep with films where the ordinary becomes extraordinary simply by telling stories that have been overlooked, particularly when it comes to the hidden histories of women and gay life in the 20th century.

With the machinery they’ve built over the years, Gerstman and Russo have celebrated the careers of free-thinking artists and activists as a home to documentary profiles of filmmakers such as Maya Deren (“In the Mirror of Maya Deren”) and Alice Guy Blache (“Be Natural”), photographers Cecil Beaton (“Love Cecil”) and Bill Cunningham (“Bill Cunningham: New York”) and intellectuals Noam Chomsky (“Manufacturing Consent”), Hannah Arendt (“Vita Activa”) and Slavoj Zizek (“The Pervert’s Guide to Ideology”) while helping launch so many others, picking up on the early promise in the work of Todd Haynes (“Dottie Got Spanked”), Laura Poitras (“The Oath”), Chaitanya Tamhane (“Court”), Talya Lavie (“Zero Motivation”), and Andrey Zvyagintsev (“Elena”). (Only they could arrange for a documentary to be made about the stop-motion animation maestros the Brothers Quay made by Christopher Nolan, whose first film “Following” they shepherded to theaters.)

As Gerstman and Russo readily acknowledge, the work has only gotten more difficult as time has gone on, but leaning on good taste and institutional knowledge, they have beaten the odds to become a pillar of arthouse cinema and in having such a hand in bringing important voices into those sacred spaces, it was truly an honor to get to speak to them on the eve of their retrospective at the Metrograph, which may be a short distance from their offices, but involves a journey that cuts across multiple countries and decades as they’ve brought global cinema to the city and beyond.

Click here to read the interview.

ONLY IN THEATERS Nominated for a Film Threat Award and Now Available in Theaters on DVD.

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Only in Theaters, the documentary about the history and future of Laemmle Theatres and includes interviews with Allison Anders, Cameron Crowe, Ava DuVernay, Nicole Holofcener, James Ivory, Kenneth Turan, Leonard Maltin and more, is now a Film Threat’s Award This! nominee in the Film About Movies or Filmmaking category. The ceremony is December 10th at The Frida Cinema in Santa Ana. “Hollywood often shows us that they can re-make anything, but indie filmmakers continue to show us that there are no limits in cinema,” said Film Threat publisher and Award This! producer Chris Gore. “Award This! and Film Threat are here to champion voices that color outside the lines. Independent cinema rises like a phoenix away from the studio cutting room floor. Join us as we cheer on the rebel artists on December 10th. And it’s always fun to party with a group of amazing and eclectic filmmakers.”

Also notable, the Only in Theaters DVD is now available for sale at all seven of our theaters. In his recent Film Factual review of the release, Brent Simon described the film as “a rich and fortifying watch, and it thankfully isn’t fanciful enough to peddle easy solutions, or clear skies on the horizon. It’s funny and sad and at times emotionally piercing, but most of all it’s honest — a quality we should all want more of in movies, big and small.”

Reviews of the film’s theatrical release include:

“The narrative about the theaters’ present-day fight for survival is undeniably compelling.” ~ Glenn Kenny, New York Times

“A fascinating and poignant look at the Laemmle family.” Claudia Puig, FilmWeek (KPCC – NPR Los Angeles)

“Like a knotty, poignant family business saga you might see on one of their screens, the story here is beautiful and complicated, one in which the twin weights of legacy and calling bear down on the need to survive in changing times.” Robert Abele, Los Angeles Times

“It’s not a film about how important theatrical exhibition is for filmmakers (though that is nice too). Rather, it’s an intimate portrait of a man burdened by legacy, navigating uncharted waters, not even sure that he wants to.” ~ Katie Walsh, TheWrap
“It’s essential viewing for any film fan and should — yes — be seen on the big screen.” ~ Randy Myers, San Jose Mercury News

SOPHIE SCHOLL: THE FINAL DAYS screenwriter Fred Breinersdorfer in person for a Q&A at the Royal.

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The powerful Oscar nominee for Best Foreign Language Film Sophie Scholl: The Final Days (2005) is based on the true story of Germany’s most famous, fearless anti-Nazi heroine of the resistance group the White Rose. Armed with long-buried historical records of her arrest and incarceration by the Gestapo‚ the filmmakers expertly recreate the last six days of Scholl’s life: a heart-stopping journey from arrest to interrogation‚ trial and sentence. “Harrowing, heroic, exhilarating, inspiring, riveting.” (L.A. Times)
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If you’ve never seen it on a big screen or want to experience it again, Sophie Scholl is more timely than ever, forcing the audience to ask: what is an individual’s responsibility to resist immorality when living under a terrifying, repressive regime? One that has no compunctions about murdering its own citizens if they are deemed the slightest threat to its hegemony?
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Sophie Scholl screenwriter Fred Breinersdorfer will join us on Thursday, October 26 at the Royal for a post-screening Q&A moderated by Laemmle Theatres President Greg Laemmle. The screening starts at 7 pm.
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Many thanks to the Goethe Institute and Villa Aurora for to making the screening possible.
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ONLY IN THEATERS screening with Q&A this Saturday, July 8 at Vidiots in Eagle Rock.

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July 5 Update: Tickets are now on sale for this Saturday’s Vidiots screening of Only in Theaters. In addition to the film, this is one more, possibly last chance to catch an in-person Q&A with subjects Greg and Tish Laemmle and filmmaker Raphael Sbarge.

Original post from June 14: Vidiots, welcome to the L.A. exhibition scene! ONLY IN THEATERS screening w/Q&A July 8.

Los Angeles’ world class movie theater culture just got classier. By reopening the 271-seat Eagle Theatre in Eagle Rock, Vidiots has joined major venues of film exhibition like the Academy Museum, the American Cinematheque, the Alamo Drafthouse, the New Beverly, the Lucas Museum of Narrative Art (in 2025), and REDCAT, to grassroots sites like Braindead Studios, Secret Movie Club, and Cinespia, plus, ahem, yours truly, Laemmle Theatres to further get Angelenos off their lonesome sofas and out into our one-of-a-kind megalopolis. We are in Hollywood, after all, the movie capital of the world, and it’s only fitting we have a plethora of ways to see movies the way they are meant to be seen: in public, with an audience, on big screens. Yes, home viewing is convenient. And for episodic stuff that is meant to be seen on TV, we are all for it. But comparing the experience of watching a “movie” via VOD with the act of actually seeing the same film in a movie theatre is like the debate between masturbation and sex …or a frozen meal versus a meal at your favorite restaurant. In the immortal words of Marvin Gaye and Tammi Terrell, “ain’t nothin’ like the real thing, Baby.”

We’re pleased the documentary about Laemmle, Only in Theaters, is among Vidiot’s first screenings. Join filmmaker Raphael Sbarge and subjects Greg and Tish Laemmle for a post-screening Q&A on July 8.

Mark Olsen of the L.A. Times has been covering Vidiot’s long road from funky, adored Santa Monica video store to Eagle Rock movie theater/cafe/video store/event space. Here’s the beginning of his latest dispatch:

When the Santa Monica video store Vidiots, which had become a local cultural institution, closed in February 2017, founders Patty Polinger and Cathy Tauber had their doubts as to whether the store would ever rebound. Opened in 1985, the beloved rental shop had a collection of more than 50,000 titles on various media formats that was put into storage, potentially never to be publicly available again.

“I didn’t really think it would,” said Tauber, reflecting on whether the store could bounce back after years of financial struggle with the rise of emerging streaming services. “I know that was the plan from the beginning, but I think by the time we shut down, I was so worn out and exhausted from trying to keep the business going and all the negativity and struggle. It was really hard to imagine this was really going to happen. Of course I hoped it would, but we were just way burnt out by the time we were closing down.”

Tauber sat recently with Polinger in the comfy and inviting theater space of the revived Vidiots, which just reopened. Besides a video store, the newly renovated complex at the Eagle Theatre in Eagle Rock includes a 271-seat movie theater, a beer and wine bar, and a smaller micro-cinema space that can also be used for community and educational programs.

“It has been such a transformation and such a huge endeavor, with so many obstacles along the way,” said Polinger. “It’s really a miracle that we’re here.”

Click here to read Olsen’s full article.