The International Documentary Association just announced the nominees for its 37th annual awards, and we’re screening or soon to screen almost a dozen from this cinematic treasure trove:
FAYA DAYI is a triple nominee for Best Feature, Director and Cinematography and is available on Laemmle Virtual Cinema.
NOT GOING QUIETLY also garnered three nominations: Best Feature, Director and Writing. It, too, is on LVC.
We open the animated FLEE (Best Feature and Director) in January.
We have Best Feature nominee WOJNAROWICZ: F**K YOU F*GGOT F**KER now on Laemmle Virtual Cinema.
We open Best Feature nominee WRITING WITH FIRE on November 26 at the Royal.
Pare Lorentz Award Winner and Best Cinematography nominee THE FIRST WAVE opens this Friday at the Monica Film Center. The filmmaker will attend for Q&A’s after the 7:30 PM screening on Saturday, November 20 and after the 4:40 screening on Sunday, November 21.
Best Cinematography nominee ASCENSION is available now on LVC.
Best Music Documentary Nominee LYDIA LUNCH is now on LVC.
We open Best Editing Nominee PROCESSION this Friday at our Glendale theater.
Finally, we open ABC News VideoSource Award Nominee LIKE A ROLLING STONE: THE LIFE AND TIMES OF BEN FONG-TORRES November 26 at the Monica Film Center.
Stay warm and emulate Frère Jacques: All BECOMING COUSTEAU ticket buyers for the Friday, October 29 screenings at the Claremont, Monica Film Center, Newhall, Town Center, and Playhouse* get a free beanie while supplies last!
*at the Playhouse, starting with the 7:30 PM show.
On July 5th, 1968, The Doors lit up the storied stage of the Hollywood Bowl with a legendary performance that is widely considered to be the band’s finest captured on film. Performing on the back of their 3rd album release “Waiting For The Sun” and the US #1 single “Hello, I Love You,” the quartet had been honing their live performances over the previous two years and were in absolute peak form.
Now, on November 4th, 2021, in celebration of the 50th anniversary of The Doors final studio album L.A. WOMAN (1971), The Doors: Live At The Bowl ’68 Special Edition will transform movie theaters into concert venues, giving Doors fans around the world the closest experience to being there live alongside Jim Morrison, John Densmore, Ray Manzarek and Robby Krieger, who stated, “the magic that has been done to enhance the picture and sound quality of this show will make everyone feel as though they have a front row seat at the Hollywood Bowl.”
In celebration of L.A. WOMAN, this special event includes a brand-new musical performance and a conversation with John Densmore, Robby Krieger and Doors Manager, Jeff Jampol, filmed exclusively for the big screen. Here’s a clip:
This theatrical “Special Edition” release creates an in-cinema experience for fans like no other. The film has now been remastered in stunning Dolby ATMOS® (where available) and 5.1 surround sound by Bruce Botnick, the original engineer & mixer for The Doors who recorded the live performance at the Hollywood Bowl in 1968 and co-produced L.A. WOMAN. Here’s another clip:
Meticulously restored from original camera negatives and remixed and mastered using original multi-track tapes, The Doors: Live At The Bowl ’68 Special Edition features the concert in its entirety, including “Hello, I Love You”, “The WASP (Texas Radio and the Big Beat)”, “Light My Fire” and “The End.”
Opening Night of the Metropolitan Opera’s 2021–22 season will be a historic occasion—the Met’s first performance of an opera by a Black composer, FIRE SHUT UP IN MY BONES. Laemmle Theatres will screen the opera live on Saturday, October 23 at our Claremont and Pasadena theaters. Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.” Featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship. James Robinson and Camille A. Brown—two of the creators of the Met’s sensational recent production of Porgy and Bess—co-direct this new staging; Brown, who is also the production’s choreographer, becomes the first Black director to create a mainstage Met production. Baritone Will Liverman, one of opera’s most exciting young artists, stars as Charles, alongside sopranos Angel Blue as Destiny/Loneliness/Greta and Latonia Moore as Billie.
From Zachary Woolfe’s New York Times piece September 23 piece A Black Composer Finally Arrives at the Metropolitan Opera: Terence Blanchard, best known for scoring Spike Lee films, reopens the 138-year-old opera company with FIRE SHUT UP IN MY BONES:
“In 1919, William Grant Still was in his 20s — many years from the eminence he would later enjoy as the widely acknowledged “dean” of Black American composers. But he had already begun to write operas, and he boldly approached the nation’s most important company: the Metropolitan Opera in New York. We have no evidence he got an answer. Two decades later, Still was far more established, with his “Afro-American Symphony” widely performed. In 1935, he sent the Met “Blue Steel,” its music infused with jazz and spirituals. “Not worthy of consideration,” a company official wrote in an internal submissions ledger. Then Still wrote another opera, “Troubled Island,” about the Haitian revolution, with a libretto by the poet Langston Hughes. “The Metropolitan was our first target, logically enough,” he later recalled. That, too, was dismissed. “It would be a mere waste of time,” a 1942 entry in that submissions ledger went, “to go into details about this opera which is an immature product of two dilettantes.” The Met, the country’s largest performing arts institution, opened in 1883, and in its 138 years has put on some 300 titles. Not one has been by a Black composer.
“Until now. Closed for a year and a half by the pandemic and rocked by the nationwide uprising for racial justice, the company will reopen on Monday with “Fire Shut Up in My Bones,” by Terence Blanchard, a jazz trumpeter and composer best known for scoring a host of Spike Lee films. “It’s a phenomenal honor, and it’s an overwhelming thing,” Blanchard, 59, said after a recent rehearsal. “But at the same time it’s bittersweet. I was just in St. Louis and heard the William Grant Still piece.” (Still’s one-act “Highway 1, U.S.A.” was done there this summer.) “And I’m like, OK, he was around. I’m honored, but I’m not the first qualified person to be here, that’s for sure.””
Click here to read the rest of the piece.
From Charles M. Blow’s September 29 New York Times piece It Wasn’t Just My Life on That Stage. So Was My Purpose:
“I strongly believe in therapy, the idea of talking things out, working them through, as a way of making it over. A therapist once told me that I liked to keep my glass filled to the brim, but in so doing, there was no space for the extra and unexpected in life. When those things came, as they surely would, I would inevitably feel overwhelmed because my cup would always overflow. His analysis was spot on, and it has stayed with me. I have tried at times not to keep my cup so full, but that instinct feels foreign to me. If I am not on the edge of too much, I don’t feel like myself, I don’t feel like I’m living up to my potential and aspirations.
“And so I have adjusted in another way: I have learned not to bask in any adulation too fully or feel any pain too deeply. I have learned to keep my life as even and steady as I can, so that I can better survive it and also better enjoy it. This is one reason the past few days have felt so otherworldly to me. On Monday, “Fire Shut Up in My Bones,” the opera composed by Terence Blanchard and based on my memoir of the same name, premiered at the Metropolitan Opera in New York. It was the first opera on that stage by a Black composer in the institution’s 138-year history.”
Click here to read the rest of the piece.
Captain Jacques-Yves Cousteau was one of the 20th century’s great explorers, a filmmaker and beloved adventurer who documented the exotic wonders below the ocean with pioneering equipment that yielded a Cannes Film Festival-winning film, two Academy Awards®, and a pair of iconic and long-running television shows, “The Undersea World of Jacques Cousteau” and “The Cousteau Odyssey.” His work became synonymous with life on the sea and on his famous boat, the Calypso. He authored over 50 books on his aquatic life and invented the Aqua-Lung, advancing the boundaries of scuba diving. Yet, it was as an environmentalist that Cousteau would have his most lasting impacts, alerting the world about the warming oceans decades before the climate crisis made headlines. Instrumental in protecting Antarctica and taking part in the first Earth Summit, Cousteau’s insight into what needs to be done for the planet continues to inspire generations.
In BECOMING COUSTEAU, from National Geographic Documentary Films and opening October 22 at the Laemmle Claremont, Monica Film Center, Newhall, Playhouse and Town Center, two-time Academy Award-nominated filmmaker Liz Garbus (All In: The Fight for Democracy, What Happened, Miss Simone?) poured through 550 hours of archival material and rarely-seen footage to let Cousteau’s films, words and recollections tell his own story. BECOMING COUSTEAU shines a spotlight on the man many of us grew up worshipping yet knew very little about while introducing him to a new generation. After prospecting for oil companies to support his globe-trotting adventuring, he had a late-in-life awakening and became the first great advocate for ocean preservation. Cousteau led a somewhat fractured family life, checkered with great loss, but he remained true to his one great love — the sea. Over 100 hours of audio journal entries, interviews and observations from collaborators and crew members add to this inside look at Cousteau. The documentary also chronicles his first wife and collaborator Simone Melchior (known aboard the Calypso as “The Shepherdess”), his family experiences, his second wife Francine Triplet, the creation of The Cousteau Society and the crucial work they do, and his evolution into one of the most important environmental voices of the 20th century, whose words and images are more vital today than ever.
“Succeeds beautifully in its goal of reminding viewers of Jacques Cousteau’s important legacy of underwater exploration and environmental activism.” ~ Frank Scheck, Hollywood Reporter
“BECOMING COUSTEAU will well serve as a reminder and clarifier for those who remember him from their youth, and an invigorating introduction for those meeting him for the first time.” ~ Todd McCarthy, Deadline Hollywood Daily
French filmmaker Mia Hansen-Løve’s latest, BERGMAN ISLAND, follows a couple of American filmmakers, Chris (Vicky Krieps) and Tony (Tim Roth), who retreat to the mythical Fårö island for the summer. In this wild, breathtaking landscape where Bergman lived and shot his most celebrated pieces, they hope to find inspiration for their upcoming films. As days spent separately pass by, the fascination for the island operates on Chris and memories of her first love resurface. Lines between reality and fiction progressively blur and strain the couple.
“I felt a new reverence for Hansen-Løve’s talent — she sweeps you up and brings the movie to a slow boil.” (Variety)
“Among other things, BERGMAN ISLAND is an ode to a female artist’s freedom to derive creative inspiration and sustenance where she chooses.” (Hollywood Reporter)
“A beautifully shot portrait of Bergman’s beloved island of Faro, the film is also a self-reflexive jeu d’esprit about gender, desire, creativity and the magic of cinema.” (Screen Daily)
Interview with writer-director Mia Hansen-Løve:
Do you believe in the power of landscapes?
I do – and that’s one of the things that drew me to Fårö. Oddly enough, these Swedish landscapes remind me those of Haute-Loire that I shot in Goodbye First Love. The happiness I felt in Fårö brings to mind childhood and teenage memories, although these are very different landscapes – the Baltic Sea on the one hand, Ardèche and the Loire River source on the other. But what they have in common is a wild, pristine quality, a silent atmosphere that invites you to a kind of meditation and that left an impression on my imagination.
Is nature an inspiration to you?
It always has been. The pleasure, the emotion you feel when watching nature can easily go hand in hand with a character’s journey and inspire fiction in me. A landscape may trigger my writing – especially when I feel it’s haunted. That’s what happened with BERGMAN ISLAND. I felt drawn to this physical place, which is also a mental, inner place, naturally.
The film is two-fold – it’s a film about love for cinema, and Bergman particularly, but also about a double love story. Why did you build the film like this?
I didn’t go about it theoretically – it just came to me as an obvious choice. BERGMAN ISLAND is probably my first film that somehow got written “all by itself”, without the pain I usually feel during the writing process. I felt like doors that had been locked so far were opening and that the island made it possible. For the first time, I felt I had the freedom to move playfully between different dimensions – past, present, reality within fiction or fiction within reality… The construction comes from the subject matter that could come down to two interconnected questions – that of couples and that of inspiration. When you deal with a filmmakers couple, how much of their dynamic is based on loneliness and how much on camaraderie? Where does fiction come from? How does it find its way into a script? I’d been wanting to make a film about this but it’s only when I thought of bringing these two filmmakers to Fårö and of using landscapes and Bergman’s world as a backdrop that the project came together. And as I decided to work from there, moving in one of Bergman’s houses and somehow experimenting the film I was writing, I found the structure – in other words, the two parts, a glimpse into the heroine’s film-in-the-making, a painful first love experience without closure inspiring filmmaker Amy’s writing, the subsequent episodes that you can’t tell which part of the narrative they belong to – past or future, reality or fantasy… This confusion echoes my own writing process. I sometimes feel like filmmaking allows me to recreate memories that tend to substitute for the reality that inspired them.
Why did you pick Fårö?
On account of Bergman, naturally. Some ten years ago, I began developing a passionate relationship with his work, his life… I began feeling magnetically drawn to the island. Bergman directed some of his most famous films there and spent the last years of his life there. Remotely located in the middle of the Baltic Sea, the island embodies an ideal both terrifying and attractive, austere and exciting – it’s the ultimate place of absolute artistic integrity that I associate Bergman with. After he died in 2007, a book was published for the auction sale of his properties and all that they contained – it was Bergman’s will, considering it was impossible to divide his properties among his nine children. I held this book in my hands. The pictures of his paintings, of the rooms of his houses, of his objects echoing his everyday life didn’t make his work any less fascinating – all these things, whether highly personal or trivial, only added to the aura and the mystery of an island haunted by his work and his presence. And increased my desire to venture there… Luckily, Bergman’s legacy hasn’t been scattered. All of it was bought out at the last minute by a Norwegian businessman. He brought back all the objects into the houses, putting them each back where they belonged. He then started a Foundation with Linn Ullmann (Bergman’s and Liv Ullmann’s daughter) allowing artists and researchers from all walks of life, just as Bergman wished, to stay in one of the latter’s houses and work on a project that doesn’t necessarily have to be connected to his work. As far as I know, I’m the only one who worked on a script that is directly related to Bergman.
You said that you enjoyed the writing and the shooting as never before. Can you be more specific?
BERGMAN ISLAND is actually a film that, despite a few incidents, brought me unprecedented joy. Fårö was, and still is, a magical place. I’ve been there every year since 2015 to write, prep, and shoot, without ever tiring of it. I’d never been so elated as I prepped for a movie. First, I absolutely relate to the island’s timeless landscapes, stone walls, wildflowers, black sheep, countless birds. To the island’s harshness and silence. And I didn’t feel like Bergman’s presence was overwhelming, but it turned out to be both soothing and stimulating instead. Does it have to do with the fact that I’m not a genius able to make sixty films and have nine children? In no way have I ever felt in competition with Bergman. Although my film touches on the passion of filmmakers for his work, I’ve never tried to imitate it. I’ve always sought to do my own thinking, to find my own voice, and let myself be immersed in the films that I grew up with.
Although the film is not about Bergman, the latter’s presence is palpable through the film’s mood, which raises very interesting issues, including the working of our imagination – it’s clear that our perspective on certain landscapes or places may be entirely shaped by how a filmmaker like Bergman has influenced it. Does our imagination belong to us or is it also shaped by films?
That’s what the film’s about – how a fantasy leaves such a mark on a place that it shapes our perspective on it. As the lady guide explains, Bergman’s Fårö Island existed before the actual Fårö. Bergman fell in love with the place because it echoed a landscape that had been on his mind for some time. But his Fårö is a rougher place than the one I discovered as I got to the island. Most importantly, he explores faces, and with him, you hardly see the actual places, the horizon or the sky, which have such an intense presence on the island. Bergman’s Fårö is a mental construct that tells about his obsessions and inner demons. So, when you’re there, this Fårö is both everywhere and nowhere…
It’s actually what the film addresses – the Bergman diehards featured in the film are desperately seeking for a Bergmanian place that, by nature, is nowhere to be found.
It’s an impossible quest. But that’s also how I made the place my own, without being a prisoner of it. In this respect, going for the scope format, which Bergman had never used, was key. I’d only shot in this way for Eden as I don’t usually trust the format. In the end, what convinced us, Denis Lenoir, my cinematographer, and me, was that we could have a different perspective on the island. This format best did justice to what impressed me the most – the endless sea and sky, the very small number of houses, people, trees even – in essence, the void. Actually, the scope format came as an obvious choice at some point, but I experienced this option as a liberation. And really, the film’s about this liberation. BERGMAN ISLAND is an emancipation story. It’s about emancipation from our masters, but also about a woman’s emancipation from a man. It’s what the Chris character, who considers herself as vulnerable and dependent, finds out about her own creative force.
However, Chris must also free herself from the man she lives with in order to find her freedom…
If they must break up, then it should happen once the film is over. As a rule, I need to feel an off-screen space to be able to believe in my characters’ lives. If the film ends with closure, I don’t believe in their existence as much as if a sequel remained to be written… You may think the journey of this couple is bound to end, but what I was interested in was to show that there’s still some understanding between them. How can they journey on together, in spite of what drives them apart, of a gap widening because of their respective fictions? It all hangs by a thread, but it’s still there…
Chris seems to come to terms with Tony’s sometimes unpleasant attitude…
You can tell this couple’s connectedness and intellectual camaraderie are strong – they have an experience together. Besides, they have a child. But it’s not easy for an artist couple to find the right balance between dialogue and sharing that are desirable, on the one hand, and necessary loneliness, on the other. You need to accept to stay outside the mental space that only belongs to your partner. Some intimate things can only be entrusted to fiction – some confessions can only be made through it. Which may cause some pain – how can you figure out what is said, what is left unsaid? This echoes a more universal question – how well do you know the person you live with? When Chris lays claim to the mill, next to the main house, as her office, it points to her ambivalent relationship with Tony’s filmmaker self. It’s far enough for her to have a chance to forget about him and take hold of the place, and close enough to be able to sense him and watch him through the window… His own relationship to writing doesn’t seem to be as complicated, and he doesn’t seem to have to confide his doubts. But you can wonder if Tony’s resilience isn’t only shallow and if, deep down, his imperviousness isn’t a smokescreen for even greater vulnerability. Regardless, I don’t judge either of my two characters – I just bear witness to what they experience, to what happy and unhappy moments come out of it, and to what my heroine must do to come out on top. The film is about how something unlocks in Chris, how she embraces fiction, imagines a film – a film in the making that’s originally called The White Dress but that could also be named Bergman Island in the end…
“Coming out on top,” that’s just what happens throughout the film. You could think the film also portrays the awakening of self-confidence, of a calling you must pursue…
I’m obsessed with callings, and most of my films deal with them. But BERGMAN ISLAND goes about it in the most straightforward way – for the first time, it’s about a woman filmmaker. And even two, actually – Amy, Chris’s double in the fiction, does the same job. It’s a way for Chris to own up to the fact that in film, her life can inspire fiction, and that fiction can reflect life, like a ping-pong game, or two parallel mirrors reflecting the same story endlessly. This has always been my writing process and I thought it was exciting to try and portray it. To me, BERGMAN ISLAND is the culmination of a thinking process I began in my first film.
Can you tell us about the cast?
For a long time, Greta Gerwig was attached to the role of Chris. At the time, she hadn’t directed her first film yet. But reality surpassed fiction as Greta became a filmmaker in the meantime. Because of her commitment to Little Women, she had to say ‘no’ to my film as our shooting schedules overlapped. When Greta left the project, we were two months away from the shoot, in May 2018. She suggested I wait for her for a year, but if I delayed the shoot, I might lose Mia Wasikowska and Anders Danielson Lie, two actors I just love and without whom I couldn’t possibly consider doing the film! With my producer Charles Gillibert, we made a risky decision – especially for him – but which, I think, was the right one: we’d shoot half the film during summer of 2018 with Mia and Anders, and the second half the following summer. Luckily it didn’t take me too long to come up with a new idea for Chris. I’d just discovered Vicky Krieps in Paul Thomas Anderson’s Phantom Thread, and I’d found her wonderful. Although she was unknown at the time, she stole the show from Daniel Day-Lewis. Her being half-German, half-Luxembourgish could give a European flair to the character, which I found interesting. In less than twenty-four hours, her name came as an obvious choice. Fortunately, she was available and, a few weeks later, Vicky was shooting her first scenes with us… Tim Roth joined the cast only the following year. Finding the right actor for this role was much more challenging. In the beginning, I could only consider an American actor for the role. And then I thought of Tim Roth. Not so much for his famous performances, his manly image, but rather for what eludes him, something almost feminine about his presence, far from the tough guys he likes to portray. There’s something both dark and fragile, something complex, about him that I like. Besides, Tim made The War Zone, a painful, challenging film – he has it in him and I think it shows. Shooting the film over two periods of time was a unique experience, we’ve tried to look at the whole thing with humor, to play with it, as in a balancing act…
Do you intend to go back to Fårö one day?
I’ll go back to present the film anyway when we can travel again. I owe a lot to some islanders and keepers of Bergman’s legacy that I can’t wait to meet again. But then again, it’s definitely a place that invites to dream, and I’d like to stay there again, to come across ghosts, to get lost there… and maybe to write there again. Probably not to write a sequel, but something different, why not?
09/20 & 09/21 – SKYLIGHT – On a bitterly cold London evening, schoolteacher (Carey Mulligan) receives an unexpected visit from her former lover (Bill Nighy), a successful and charismatic restaurateur whose wife has recently died. David Hare’s highly-anticipated production, directed by Stephen Daldry (The Audience), was recorded live on the West End by National Theatre Live.
09/27 & 09/22 – LIVE AT MR. KELLY’S – A look back at the legendary Chicago club Mister Kelly’s, which launched talent like Barbra Streisand, Woody Allen, Bette Midler, and Richard Pryor. Its visionary owners George and Oscar Marienthal smashed color and gender barriers to put fresh, irreverent voices in the spotlight and transform entertainment in the 50s, 60s, and ’70s.
10/04 & 10/11 – ALGREN – A journey through the gritty world, brilliant mind, and noble heart of Nelson Algren, the writer who defined post-war American urban fiction. Featuring John Sayles, William Friedkin, Philip Kaufman, Billy Corgan and more, the film paints an intimate, witty portrait.
10/11 & 10/12 – THE FAITHFUL – This documentary powerfully explores fandom, memorabilia and the magnetic appeal of three of the most influential cultural icons of our time: Elvis Presley, Princess Diana, and Pope John Paul II.
10/18 & 10/19 – RAPHAEL REVEALED – Marking the 500th anniversary of Raphael’s death, the greatest exhibition ever held of his works took place in Rome. This film provides beautifully-filmed access to this once-in-a-lifetime show featuring over two hundred masterpieces.
10/25 & 10/25 – FOLLIES – New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. After a sold-out run in 2017, the winner of the Olivier Award for Best Musical Revival returned for a strictly limited season in 2019. Stephen Sondheim’s legendary musical includes such classic songs as Broadway Baby, I’m Still Here and Losing My Mind.
11/01 & 11/02 – PUTIN’S WITNESSES serves as a fascinating look at Putin in the earliest days of his presidency, when the seeds of his authoritarianism were already being sown, filmed by a former friend and colleague, now living in exile, who had intimate access.
11/08 & 11/09 – PRISM – Filmmakers Eléonore Yameogo of Burkina Faso, An van. Dienderen of Belgium, and Rosine Mbakam of Cameroon examine biases and racism in the cinematic technology, deconstructing the camera’s objectivity, exposing its inherent power imbalance. At the same time, they work together collaboratively to construct and reconstruct. Like a chain letter, PRISM brings interviews, monologues, and images on the racism of cinematic technology into emotional, aesthetic, and intellectual dialogue.
11/15 & 11/16 – DELPHINE’S PRAYERS – A portrait of a Cameroonian immigrant to Belgium. Quick-witted, engaging, passionate, and intense, she shares her incredible survival story.
11/22 & 11/23 – M.C. ESCHER: JOURNEY TO INFINITY – Equal parts history, psychology, and psychedelia, Robin Lutz’s entertaining, eye-opening portrait gives us the famous Dutch graphic artist through his own words and images: diary musings, excerpts from lectures, correspondence and more are voiced by British actor Stephen Fry, while Escher’s woodcuts, lithographs, and other print works appear in both original and playfully altered form.
11/29 & 11/30 – SPARTACUS – Huge in scale and spectacular in effect, SPARTACUS is a true tour de force of a ballet, set to Aram Khachaturian’s superb score. With an incredible display of might from the four leading dancers to the entire corps de ballet and its passionate pas de deux, it is the ultimate spectacle of virtuosity and lyricism born at the Bolshoi Theatre.
12/06 & 12/07 – THE DANISH COLLECTOR: DELACROIX TO GAUGUIN – Denmark’s Ordrupgaard Collection is a treasure trove featuring some of the finest Impressionist works ever painted. Includes Realist paintings by Corot, Delacroix and Courbet; landscapes of Monet, Pissarro, Cézanne and Sisley; and beautifully observed portraits by Degas, Manet, Morisot, and Gonzalès.
12/13 & 12/14 – LOUIS VAN BEETHOVEN – This lavish historical drama illuminates the story of the world-famous composer from different perspectives.