Claremont 5 Archives – Laemmle Theatres

Culture Vulture Evolves: From Limited Runs to Unlimited Options

July 29, 2026 by Lamb Laemmle Leave a Comment

A mere dozen years ago, your Laemmle Theatres forefathers set out with a new mission, one that would really put the “art” in “arthouse theater.” With our Culture Vulture program, we brought live stage to the cinema auditorium, took attendees inside the world’s greatest art museums to see the classics, and gave PBS documentaries the big-screen treatment they deserved, among other deep delves.

That was then, in a more conventional film environment.

These days, with companies like Fathom Events running one-night-only and limited programs, it’s not uncommon to see plays, concerts, TV finales, restored older films, and all sorts of niche documentaries on every topic.

At Laemmle Theatres, you can still expect to see more from the likes of Exhibition on Screen, telling the stories behind famous works of art, and National Theatre Live bringing the best of British stage productions to the movie screen. They no longer need other umbrellas to stand under, as their productions are now recognized by the likes of IMDB and Rotten Tomatoes. If we ran just one a week, in some cases, we’d be limiting your options rather than expanding your horizons.

Culture Vulture began in 2014, with an all-male production of Shakespeare’s Twelfth Night, starring Mark Rylance and Stephen Fry. It used to run at every Laemmle theater – the Claremont ran it for all 12 years, which is more than any other. Over those eleven-plus calendar cycles, the programs have broken down to: fine art 31%, stage capture 28% (Shakespeare 12% of that), opera 10%, ballet 10%, and music docs 7%.

In all, 24 of Shakespeare’s 38 plays have been a part of the program, some more than once. Hamlet, easily the highest-grossing title in Culture Vulture’s history, came through in three different productions, as did Romeo and Juliet, including in Matthew Bourne’s all-dance version.

Here are some more Culture Vulture numbers: a total series run-time of 11 years and 10 months, from September 22, 2014 to July 27, 2026.

In that time, our screens have run 434 titles, 2,078 engagements, 4,449 theatre-days, 10 theatres, and 90 distributors.

Culture Vulture titles needed strength in numbers, but the future has more than we can count. Just keep an eye on Laemmle.com for keywords like ballet, opera, and stage. If you sign up for Laemmle’s e-newsletter, you’ll be even more ahead of the curve.

Culture Vulture as a label may be phasing out, but like a phoenix from the ashes, it’s just rebirthing to spread its wings wider. Long live culture, on even more screens and locations!

A Fond Farewell to the Claremont 5

January 27, 2026 by Lamb Laemmle 17 Comments

After 18 years in downtown Claremont, Laemmle Theatres will soon be closing the doors to our beloved Claremont 5 location.

This decision did not come easily. The Claremont 5 has been a meaningful part of our company’s history and, more importantly, of a community that showed up again and again for independent, foreign, and specialty films.

When the Claremont 5 first opened in 2007 as part of the city’s expanded downtown, our goal was simple: to create a home for movies that might not otherwise have a screen in the Inland Empire. Over the years, this theater has become a gathering place for cinephiles, students, families, and neighbors who valued discovery, conversation, and the shared experience of watching films together.

Like many independent theaters, the Claremont 5 faced significant challenges in the years following the pandemic. While we saw encouraging energy around special events and programs aimed at students and younger audiences, overall attendance did not rebound to a level that would allow the theater to remain financially sustainable. Following our almost-sale (and subsequent call to action) back in 2023, ticket sales improved only modestly, with much of the regular programming struggling to find the audience it deserved.

In that context, when Regency Theatres approached us with a fair offer to purchase the Claremont 5, we made the difficult decision to move forward with the sale. While the theater was not actively on the market, it quickly became clear that such a transition could offer the venue a new opportunity to evolve under different stewardship. We genuinely hope that Regency’s fresh perspective will allow the space to thrive in new ways.

“What I’ll miss most isn’t just the theater—it’s sharing great films with incredible people,” commented Guy Valdez, Claremont’s general manager of 8+ years. “Thank you for supporting independent film and for making this place feel like home. I’m deeply grateful.”

For now, we will continue operating the Claremont 5 through the end of January, programming films as usual until our final days.

Above all, we want to thank the audience members who supported the Claremont 5 over the past 18 years. You showed up for small films, challenging films, and films that sparked discussion long after the credits rolled. Together, you made this theater more than a building—You made it a gathering place.

While this chapter is ending, our gratitude endures. So thank you, Claremont, for your curiosity, your loyalty, and for allowing us to be part of your moviegoing lives.

Gratefully yours,

Laemmle Theatres

H Is for Hawk: A Poetic Exploration of Grief, Nature, and the Human Heart

January 21, 2026 by Lamb Laemmle Leave a Comment

H Is for Hawk adapts Helen Macdonald’s bestselling memoir into a quietly powerful portrait of grief, healing, and the paradoxical solace of the natural world. Directed with sensitivity and a keen eye for emotional nuance, the film follows a woman’s audacious attempt to navigate profound personal loss by forging a bond with a creature that is, by nature, wild and ungovernable.

Catch H Is for Hawk in theaters beginning January 23rd at the Laemmle Monica, Town Center, Newhall, and Claremont locations.

The film centers on Helen (Claire Foy), a woman devastated by the sudden death of her father. Struggling to articulate her grief, she turns to an unexpected source of solace: training a goshawk, an apex bird of prey whose fierce independence mirrors the untamable terrain of her own emotions. In Helen’s obsessive dedication to understanding and partnering with the hawk, the film finds a natural metaphor for the disorienting, unpredictable landscape of mourning itself, wherein moments of connection coexist with bewilderment, longing, and the jagged edges of loss.

Foy’s performance is quietly magnetic, capturing Helen’s inwardness without collapsing her into cliché. She embodies a character who is determined yet vulnerable, scientifically curious yet emotionally adrift, and consistently compelling in her contradictions. In flashbacks, Brendan Gleeson, as the father who offered both practical wisdom and human warmth, complements Foy with a lived-in presence that anchors many of the film’s quieter moments. Together, their chemistry underscores the film’s central concern: that connection—whether with people, animals, or one’s own past—is every bit as nonnegotiable as eating, breathing, and sleeping.

Visually, H Is for Hawk moves with an abiding stillness. Long, carefully observed takes of misty landscapes and the hawk’s lithe flight underscore the recurring notion that healing is not linear and can unfold in unexpected ways. The cinematography allows the wildness of the British countryside to become an emotional backdrop as rich as any dialogue, suggesting that nature does more than reflect human feeling: it refracts it, alters it, and sometimes softens it.

Critics have noted the film’s success in adapting a highly introspective, literary text to the screen without diminishing its emotional weight. By embracing both the ineffable qualities of grief and the intricate rhythms of human and animal behavior, the adaptation feels faithful not just to the memoir’s chronology but to its philosophical heart.

In a cinematic landscape often driven by resolution and/or theatrics, H Is for Hawk stands out for its emotional honesty and its faith in the audiences’ capacity to sit with an open and unguarded heart. It is a quiet film with a strong heartbeat, one that finds beauty not in what is tamed, but in what is profound, wild, and enduring.

“Philippa Lowthorpe pares Helen Macdonald’s intricately layered memoir down to what she considers essential, focusing on the author’s odd choice to adopt a goshawk as a kind of emotional escapism.” – Peter Debruge, Variety

“A sensitive portrayal of a person’s slide into depression… particularly well-observed when it comes to the almost comical oddness of mourning.” – Angie Han, The Hollywood Reporter

Father Mother Sister Brother: Jim Jarmusch’s Quiet Meditation on Family Ties

January 6, 2026 by Lamb Laemmle Leave a Comment

Jim Jarmusch’s Father Mother Sister Brother, winner of the coveted Golden Lion at the 2025 Venice Film Festival, offers a signature turn from one of independent cinema’s most distinctive voices, culminating in a gentle, contemplative triptych that quietly observes the tangled, often unspoken dynamics between children and their parents. Opening January 9th at the Laemmle Monica, Claremont, NoHo, and Glendale theaters, the film invites audiences into three subtly interconnected stories about siblings, aging, and legacy, all rendered with the iconoclastic filmmaker’s characteristic blend of wit, understatement, and emotional precision. Tune into Inside the Arthouse to hear Jarmusch discuss his latest work with co-hosts Greg Laemmle and Raphael Sbarge ahead of its debut.

Structured in three chapters set in New Jersey, Dublin, and Paris, Father Mother Sister Brother foregrounds ordinary domestic encounters over flashy, overt drama. In the first story, adult siblings Jeff (Adam Driver) and Emily (Mayim Bialik) make a quiet, tentative journey to visit their widowed father (Tom Waits) at his remote home, negotiating the awkwardness and muted affection that define long years of estrangement. Jarmusch’s direction attends closely to how the three characters move and speak around one another, revealing a lifetime of shared history through pauses, glances, and half-finished thoughts.

The second segment moves to Dublin, where an accomplished novelist (Charlotte Rampling) receives her rarely-seen daughters Timothea (Cate Blanchett) and Lilith (Vicky Krieps) for an annual tea. Here, the emotional choreography is just as rife: politeness, competition, and unspoken disappointment circulate beneath measured exchanges, offering a quietly sharp exploration of how adult relationships with parents can continue to bear the marks of youth.

In the final story, set in Paris, twins Skye (Indya Moore) and Billy (Luka Sabbat) sift through their deceased parents’ belongings, reminiscing and confronting the traces of the lives that shaped them. Minimalist but resonant, this segment emphasizes memory, loss, and the ways shared history lingers in objects and quiet conversations.

While some viewers may find Jarmusch’s pared-back rhythms and emphasis on silence challenging, the film’s rewards lie in its textured, patient observation of ordinary life and its capacity to reflect shared human experience without forcing tidy resolutions. The cast—a blend of longtime Jarmusch collaborators and fresh faces—brings this world to life with subtle (yet thematically crucial) commonalities, underscoring the film’s unstated hypothesis that, whatever differences may exist between us, family dynamics follow a universal language.

In a cinematic landscape that often equates drama with spectacle, Jarmusch’s latest anthology stands apart as a humane, reflective study of the ties that bind us—sometimes awkwardly, sometimes silently, but always with a strange, persistent tenderness.

“What makes the triptych of thematically connected snapshots memorable is its deftly unfussy observation of the unknowability that can endure among people who share the same bloodlines.” – David Rooney, The Hollywood Reporter

“[The film’s] laid-back, liquid rhythms are a perfect mood-setter for a film that also understands that loving someone doesn’t mean you know them all that well.” – Jessica Kiang, Variety

To the loyal patrons of the Claremont 5 – Closing

December 20, 2025 by Lamb Laemmle 2 Comments

It is with a sense of reflective pride that we announce the sale of the Laemmle Claremont property to a new owner. Proud of all the wonderful independent, and award-winning films that we have brought to The City of Trees and PhDs since our opening in 2007. And proud to report that the new owner intends to continue operating a movie theater at this location, marking the beginning of an exciting new chapter for this venue.

“Of all the possible outcomes, we feel that this is truly the best option for Laemmle, the new owner, and the community,” according to Laemmle President Greg Laemmle. “It’s an overused term, but in this case, this really is a win-win situation.”

A handover will happen toward the end of January, 2026. Patrons can continue to use Premiere Card balances, gift certificates and Frequent Moviegoer Vouchers

“Thank you to the Claremont community for 18 years of patronage. It is sad to say goodbye, but we truly believe that we are leaving you in good hands,” said Greg Laemmle in closing

Groundbreaking ceremony: August 4th, 2005

From left to right: Jon Tolkin, the Manager of Claremont Village Expansion and Claremont Village Inn – Jay Reisbaum (VP of Laemmle Theatres) – Bob Laemmle (owner) – Bob Laemmle loved driving out to check on the progress of construction so that he could visit the Some Crust Bakery on Yale Ave

The Claremont 5 was built from the ground up by Laemmle Theatres and opened to the public on Friday July 27th, 2007. The first five films booked were Hairspray, My Best Friend, No Reservations, Sunshine and Sicko. The theater had 5 auditoriums with stadium seating and wall-to-wall screens. The houses ranged in size from 113 to 250 seats.

A Christmas Harmony: Why Song Sung Blue Is the Season’s Perfect Crowd-Pleaser

December 16, 2025 by Lamb Laemmle Leave a Comment

Arriving on Christmas Day, Song Sung Blue is the kind of theatrical experience that feels tailor-made for the holiday season: warm, generous, and powered by the simple pleasure of shared music. Directed by Craig Brewer, the film blends biography, romance, and performance into a story about second chances and the quiet triumphs that come from believing in yourself as well as one another.

Catch Song Sung Blue in theaters beginning Thursday, December 25th at the Laemmle Glendale, Newhall, Town Center, NoHo, and Claremont to see for yourself why it’s Tish Laemmle’s favorite movie of 2025, a fun fact made even funner by this ringing endorsement of both the film and Laemmle Theatres in general made by iconic filmmaker Baz Luhrmann.

Inspired by a true story, Song Sung Blue follows Mike and Claire Sardina, a Wisconsin couple whose dreams of musical success have dimmed with time. When they form a Neil Diamond tribute band called Lightning & Thunder, what began as a modest idea becomes a lifeline. Through local gigs, long drives, and moments of doubt, the couple reconnects not just with audiences, but with the reasons they fell in love with music—and with each other—in the first place.

Hugh Jackman brings warmth, vulnerability, and charm to Mike, a performer learning to reclaim his voice after years of disillusionment. Opposite him, Kate Hudson gives one of her more versatile performances to-date as Claire, infusing the role with optimism, humor, and emotional clarity. Together, they create a portrait of partnership that feels deeply human: messy, supportive, occasionally strained, but ultimately resilient. The supporting cast—highlighted by Michael Imperioli, Fisher Stevens, and Jim Belushi—adds texture and humor to the world surrounding the band.

Music, however, is the film’s connective tissue. Songs like “Sweet Caroline” and “Cherry, Cherry” are woven naturally into the narrative, not as spectacle but as compelling expressions of longing, joy, and perseverance. Brewer’s direction resists gloss in favor of sincerity, allowing the actors’ performances to unfold with intimacy and ease. Rather than chasing the highs of overnight success, Song Sung Blue finds its emotional payoff in the smaller victories: the applause of a local crowd, the harmony between two voices, and the triumph of simply being seen.

As a Christmas theater-going experience, Song Sung Blue hits a rare sweet spot. It’s uplifting without being sentimental, musical without being flashy, and rooted in the belief that it’s never too late to rediscover one’s purpose. Perfect for audiences looking to close out the year with something heartfelt and communal, the film reminds us that joy often arrives not with fireworks, but with a familiar song sung together and at just the right moment.

“A family movie in the best sense of the term, a crowd-pleaser with a ton of heart.” – David Rooney, The Hollywood Reporter

“Let-it-rip acting with the fussiness burned off.” – Owen Gleiberman, Variety

“If the right Diamond song at the right time can turn you into mush, you’re likely to find that Brewer’s film is capable of tugging on the same heartstrings.” – Christian Zilko, IndieWire

Laemmle Sells Claremont 5: Official Annoucement

December 1, 2025 by Lamb Laemmle Leave a Comment

To the loyal patrons of the Claremont 5:

“Of all the possible outcomes, we feel that this is truly the best option for Laemmle, the new owner, and the community,” according to Laemmle President Greg Laemmle. “It’s an overused term, but in this case, this really is a win-win situation.”

Laemmle Theatres will continue to operate the theatre post-sale. A handover will happen toward the end of January. But until then, it is business as usual.

Patrons can continue to use Premiere Card balances, gift certificates and Frequent Moviegoer Vouchers to see year end releases like WICKED: FOR GOOD, ZOOTOPIA 2, HAMNET, ETERNITY, SONG SUNG BLUE and MARTY SUPREME at the theater. And don’t forget, you’ll have one last chance to attend our popular Christmas Eve sing-along presentation of FIDDLER ON THE ROOF.

“Thank you to the Claremont community for 18 years of patronage. It is sad to say goodbye, but we truly believe that we are leaving you in good hands,” said Greg Laemmle in closing.

Groundbreaking ceremony: August 4th, 2005

Sing Out, Sing Proud: Laemmle’s Christmas Eve Fiddler on the Roof Sing-Along Returns

November 19, 2025 by Lamb Laemmle 1 Comment

For many, Christmas Eve brings rituals of light, warmth, and gathering. And at Laemmle Theatres, one of our most cherished traditions is a celebration of all of those things—in song, in community, and in the spirited, big-hearted world of Fiddler on the Roof. This year, we’re thrilled to bring back our annual Fiddler on the Roof Sing-Along, playing the evening of December 24th at the Laemmle NoHo, Newhall, Claremont, and Glendale, and with both matinee AND evening showings at the Royal and Town Center. Get your tickets while you still can!

Whether you’ve been joining us for years or will be stepping into Anatevka for the very first time, the invitation remains the same: Come lift your voice, lean into the music, and share in a night that honors joy, resilience, and the freedom to celebrate together.

Norman Jewison’s 1971 classic, adapted from the long-running Broadway musical, remains one of the most beloved works of American cinema. Based on Sholem Aleichem’s “Tevye and His Daughters,” the film follows Tevye the milkman—played with iconic warmth and humor by Topol—as he navigates tradition, change, and the unruly love stories of his five daughters in a quaint Russian village at the turn of the 20th century.

The film’s emotional range is extraordinary: exuberant one moment, aching the next. “TRADITION” explodes with communal energy; “IF I WERE A RICH MAN” turns longing into musical ecstasy; “SUNRISE, SUNSET” captures the fleeting nature of time; “ANATEVKA” balances sorrow with wry endurance. These songs do more than entertain: they hold memory, identity, and cultural inheritance inside their melodies.

And, in the shared space of a sing-along, their meaning only deepens. There’s something almost sacred about hundreds of voices rising together in laughter, lament, and love.

Laemmle’s Christmas Eve Fiddler tradition began as an affirmation, a celebration of the freedom to gather openly, joyfully, and Jewishly at a time of year when many in earlier generations felt they had to retreat from view. In light of history (as well as events ongoing today), coming together to sing feels not just festive, but vital.

This event has always been more than a screening. It’s community theater meets holiday catharsis: an evening where people dress as their favorite characters, lean fully into their off-key harmonies, and rediscover the beauty of cultural expression shared in public. Children, grandparents, longtime fans, first-timers—All are welcome in this communal chorus.

So come ready to sing at the top of your lungs, or simply to enjoy the joyful noise around you. Costumes are enthusiastically encouraged. Families are warmly invited; the film is rated G, though some themes may be complex for young children.

And remember: Fiddler sells out every year. If tradition teaches us anything, it’s not to wait for a miracle—so grab your tickets early.