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Hirokazu Kore-eda’s “staggeringly heartbreaking” MONSTER opens Friday.

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Gently devastating in its compassion, Monster, the latest from Japanese master Hirokazu Kore-eda (After Life, Shoplifters, Broker), is a masterpiece of shifting perspectives that defies expectations. It begins with a mother who confronts a teacher about her child’s behavioral changes. This is the first time Kore-eda has directed a film he did not write in almost 20 years. (The film was the last scoring project by Ryuichi Sakamoto.) We open Monster this Friday at the Laemmle Monica Film Center, Glendale, Town Center/Encino and Claremont 5.

Leading film critics have weighed in:

“Monster is one of the finest films of the year, and its structure — like its circle of characters — carries secrets that can only be unraveled through patience and empathy.” ~ Natalia Winkelman, New York Times

“If possible, watch Monster more than once.” ~ Anthony Lane, New Yorker
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“It poetically shows the power of perspective. So well-observed, nuanced, and compassionately told.” ~ Claudia Puig, FilmWeek (KPCC – NPR Los Angeles)
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“As you’d expect from Kore-eda, it’s all told with the utmost detail and care, and a gentle score from the late Ryuichi Sakamoto only adds to the overarching air of thoughtfulness and empathy.” ~ Dave Calhoun, Time Out
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“There is so much beauty in Monster, and so much sadness.” ~ Bill Goodykoontz, Arizona Republic

“What Monster most comes to resemble is a reminder of the rich inner and emotional worlds of children — of their autonomy, even, in the context of a culture reluctant to acknowledge it. ~ Zachary Barnes, Wall Street Journal

“Monster’s three perspectives are not so much in argument with one another as they are pieces of the same puzzle. And once they are locked together, the final portrait is staggeringly heartbreaking.” ~ Barry Hertz, Globe and Mail

“While Monster depends on dramatic irony and revelatory twists, it’s also a showcase for director Hirokazu Kore-eda, whose knack for collaboration brings out the best in his actors, especially his younger cast members.” ~ Simon Abrams, RogerEbert.com

“One of the director’s finest, its thematic scope and emotional power growing with each new revelation.” ~ Nick Schager, The Daily Beast

“Across the film, you can feel the push and pull between a master technician who built his career on the patient, delicate plucking at our heartstrings and his newfound desire to please a wide audience with the broadest of affective strokes.” ~ Kyle Turner, Slant Magazine

“Monster is another striking piece of work from a master, a movie that’s so carefully calibrated that you get lost in these characters, forgetting they’re performers and not people caught up in a genuinely traumatic chapter of life.” ~ Brian Tallerico, RogerEbert.com

“Monster keeps its secrets until its final moments, leaving us with the feeling that we have earned its trust and are worthy of the precious, beautiful truths that lie at its heart.” ~ Alexandra Heller-Nicholas, AWFJ.org

“A case of Kore-eda’s incredible felicity in handling child actors, or perhaps the kids challenging and inspiring Kore-eda yet again.” ~ Namrata Joshi, The New Indian Express

“Kore-eda is a master of directing children’s performances, so it’s no wonder that Monster is at its best when there are no adults on screen, the children living in their own world of fantasy and adventure and emotion.” ~ Alissa Wilkinson, Vox

“Sometimes the best reason to watch a movie is because Isabelle Huppert is in it.” LA SYNDICALISTE Opens December 8 at the Royal.

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La Syndicaliste is the stunning true story of Maureen Kearney (Isabelle Huppert), the head union representative of a French multinational nuclear powerhouse. She became a whistleblower, denouncing top-secret deals that shook the French nuclear sector. Alone against the world, she fought government ministers and industry leaders tooth and nail to bring the scandal to light and to defend more than 50,000 jobs. Her life was turned upside down when she was violently assaulted in her own home and the investigation is carried out under pressure: the subject is sensitive. Suddenly, new elements create doubt in the minds of the investigators. At first a victim, Maureen becomes a suspect. We open La Syndicaliste this Friday, December 8 at the Royal.

“A politically tinged back room drama of shifting power hierarchies…[Huppert] taps into a level of vulnerability rarely seen throughout her vast filmography.” – Nicholas Bell, IONCINEMA

“Derives its power from the knowledge that this shocking story actually happened.”  – Lee Marshall, Screen Daily

“Maureen Kearney’s story is unbelievable. Played with an electric stillness by the great Isabelle Huppert…this is the story of one individual. A heroine, in fact.” – Stephanie Bunbury, Deadline

“Sometimes the best reason to watch a movie is because Isabelle Huppert is in it.” ~ Manohla Dargis, New York Times

“Mesmerising…[Huppert] is a genuinely singular talent in modern European cinema, and her ability to take a role like this and infuse it with stillness and subterranean complexities is nothing less than mesmerising.” ~ Kevin Maher, Times [U.K.]

“Salomé’s film pivots from itchy whistleblower thriller to irate courtroom drama, with institutional misogyny as its binding thread.” ~ Guy Lodge, Variety

“At no point is a link made between this narrative and The Scarlet Letter, but both the book and the film induce shivers by exposing the gross misogyny of so-called respectable establishment figures.” ~ Charlotte O’Sullivan, London Evening Standard

“This is a truly shocking story that is told with precision and sensitivity.” ~ Linda Marric, The Jewish Chronicle

“Isabelle Huppert’s gift for icy inscrutability is this film’s best asset.” ~ Edward Porter, Times [U.K.]
“Truth-based French thriller La Syndicaliste is a film of difficult, disquieting moments.” ~ Danny Leigh, Financial Times

“Thoroughly entertaining, completely unpredictable” Finnish Romantic Comedy FALLEN LEAVES opens Wednesday.

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The latest deadpan gem from living legend Aki Kaurismäki is a romantic comedy, but discard any preconceived notions about what that connotes. Fallen Leaves looks, sounds and moves audiences unlike a typical, predictable rom-com or most movies, for that matter. It’s sui generis and will almost certainly make the Oscar shortlist for Best International Film, and rightly so. The nation’s top film critics agree, declaring it one of the best movies of the year:

“Modestly scaled and tonally perfect, Fallen Leaves opens in a fluorescent hell-on-earth and ends with a vision of something like paradise.” ~ Manohla Dargis, New York Times

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“[A] weirdly beguiling delight.” ~ Peter Sobczynski, RogerEbert.com

“Aki Kaurismäki’s deadpan dark comedy dips with style and just a hint of weird whimsy into the lives of his working-class characters, and the tableaux he crafts give off the whiff of a Finnish spin on Hopper’s alienated figures.” ~ Alissa Wilkinson, Vox

“Fallen Leaves is, for all its intended quietness, one of the most trenchant works about modern life to emerge in cinemas, post-pandemic.” ~ David Sims, The Atlantic

“Aki Kaurismäki’s latest is deeply alert to the sensory pleasures of the world.” ~ Carson Lund, Slant Magazine

“Fallen Leaves, short, sweet and utterly delightful, is the kind of movie that’s so charming, you want to run it back the moment it’s over.” Jake Coyle, Associated Press

“Fallen Leaves is thoroughly entertaining, completely unpredictable and one of the best films I’ve seen this year.” ~ Leonard Maltin, leonardmaltin.com
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“The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained.” ~ Glenn Kenny, RogerEbert.com

“There’s life boiling under the simple surfaces, which is both Kaurismäki’s aesthetic mantra and his great theme. At their best, these quiet, cool films tear you to pieces. Fallen Leaves already feels like one of his signature works.” ~ Bilge Ebiri, New York Magazine/Vulture

We open the film Wednesday, November 22 at the Royal and December 1 at the Laemmle Glendale, Monica Film Center and Town Center.

THE LION IN WINTER 55th Anniversary Holiday Season Screening with Author-Historian Jeremy Arnold November 29.

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Laemmle Theatres and the Anniversary Classics Series present the 55th anniversary of The Lion in Winter (1968), the Academy Award-winning historical drama (with comedy undertones) that netted screen legend Katharine Hepburn a third Best Actress Oscar. Hepburn leads a powerhouse cast including acting icon Peter O’Toole, and future major stars Anthony Hopkins and Timothy Dalton in their film debuts. The film plays one night only Wednesday, November 29 at 7:00 PM at the Royal in West Los Angeles, with an introduction by author Jeremy Arnold, who will sign copies of his newly revised book “Christmas in the Movies.”

Set during Christmas 1183, England’s King Henry II (Peter O’Toole) summons a holiday court at Chilon in his continental empire to choose his successor among his three sons: Richard the Lionhearted (Anthony Hopkins), Geoffrey (John Castle), and his favorite, John (Nigel Terry). He releases his wife and the mother of their sons, Eleanor of Aquitaine (Katharine Hepburn) from imprisonment for the occasion. Also in attendance are Henry’s mistress Alais (Jane Merrow), and her brother, the young King Philip of France (Timothy Dalton). As the principals squabble over the succession, intrigue, one-upmanship, and treachery are unleashed in the ensuing power struggle.

Based on a play by James Goldman (a Broadway flop in 1966), the film adaptation by Goldman and director Anthony Harvey, a former film editor (Lolita, Dr. Strangelove) just two years later proved to be a resounding success at both the box office and with critics of the day. Roger Ebert welcomed “a literate script handled intelligently,” while Renata Adler of The New York Times praised the “dramatic and comic energy” on display by the spirited cast. An effusive Charles Champlin of the Los Angeles Times awarded the film “top honors for the most literate movie of the year, and for the finest and most imaginative and fascinating evocation of an historical time and place.” AMPAS bestowed seven nominations including Best Picture, Director, Actor, and Costume Design, with Oscar wins for Goldman’s screenplay, John Barry’s effective music score, and Hepburn’s Best Actress turn (her third win in an historic tie with Barbra Streisand for Funny Girl).

Hepburn recalled what attracted her to the part of Eleanor of Aquitaine, “I think she had what I’ve always held as important: love of life but without sentimentality. She was something I’ve always tried to be–completely authentic.” O’Toole had the unique opportunity to revisit a character he had previously played (a younger Henry II in 1964’s Becket) and triumphed once again. Hepburn would go on to win a fourth Best Actress Oscar in 1981, while O’Toole had to settle for an Honorary Oscar in 2003 among eight nominations. Hopkins would become one of the most acclaimed actors of his generation, winning two Best Actor Oscars in his lengthy career. Dalton enjoyed decades of success and movie immortality when he inherited the role of James Bond in 1987 for two films as Agent 007. In The Lion in Winter all four have a rousing good time, as the Village Voice noted, “scenery chewing has rarely been so artful.”

Whet Your Thanksgiving Appetite with BABETTE’S FEAST 35th Anniversary Screenings November 21.

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What better way to get ready for Thanksgiving than to see (or see again) the delectable Babette’s Feast.  A surprise winner of the Best Foreign Film Oscar, this movie has since made fans of all who see it. The Scent of Green Papaya, Chef, Big Night, Tampopo, Ratatouille, and Like Water for Chocolate are all top foodie movies — and we’ve got another contender coming on December 1: Frederick Wiseman’s Menus-Plaisier: Les Troisgros — but the champion is Babette’s Feast.
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At once a rousing paean to artistic creation, a delicate evocation of divine grace, and the ultimate film about food, Babette’s Feast is a deeply beloved treasure of cinema. Directed by Gabriel Axel and adapted from a story by Isak Dinesen, it is the lovingly layered tale of a French housekeeper with a mysterious past who brings quiet revolution in the form of one exquisite meal to a circle of starkly pious villagers in late nineteenth-century Denmark. Babette’s Feast combines earthiness and reverence in an indescribably moving depiction of sensual pleasure that goes to your head like fine champagne.

We’ll be serving Babette’s Feast on November 21 in four far-flung corners of the county: Claremont, Glendale, Newhall and Royal. Bon appétit and Happy Thanksgiving!

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

John Le Carré shares stories from his life with Errol Morris in the “enthralling” new documentary THE PIGEON TUNNEL, opening Friday at the NoHo.

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Academy Award-winning documentarian Errol Morris pulls back the curtain on the storied life and career of former British spy David Cornwell — better known as John le Carré — in The Pigeon Tunnel, opening Friday at the NoHo.
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“It’s a treat to learn that, before he died in 2020, the great novelist David Cornwell, aka John le Carré, provided Mr. Morris with an in-depth discussion of his deceit-steeped life and works. I was enthralled by every minute of it.” ~ Kyle Smith, Wall Street Journal
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“It’s much richer than a mere biographical documentary, fascinating even to those who haven’t read Cornwall’s work.” ~ Alissa Wilkinson, Vox
 

“In Errol Morris’s documentary, the sense of getting nowhere in particular proves to be crucial toward grasping John le Carré in all his impish glory.” ~ Keith Uhlich, Slant Magazine

“Through it all is the tension of whether one can truly know le Carré, a man who first made a living hiding his true self, and then another living as a writer delving into it. Morris captures that paradox… quite perfectly.” ~ David Sims, The Atlantic

“An interrogation of art and artist, The Pigeon Tunnel is an enthralling documentary both for fans of le Carré and those who’ve never read a page of his work.” ~ Barry Levitt, Empire Magazine

“Errol Morris’s biographical documentaries have got to the heart of figures ranging from Stephen Hawking to Donald Rumsfeld, but in John le Carré he has found a subject as unknowable as he is eloquent.” ~ Jake Kerridge, Daily Telegraph

“The result is a wide-ranging dialogue that manages to be both philosophical and playful, a personal portrait that goes exactly as deep as Cornwell wants it to go but never feels as if the author is getting away with obfuscation.” ~ Steve Pond, TheWrap

“He’s a grand chronicler of his own biography, and expertly goaded on by Morris, whose queries challenge present and past statements and compel further elaboration and contemplation.” ~ Nick Schager, The Daily Beast