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Home » Theater Buzz » Glendale » Page 5

“My recent trips to the movies have convinced me that whenever the option presents itself, the right move is to see the movie in the theater.” The New York Times’s Melissa Kirsch on moviegoing in general and ANORA in particular.

October 30, 2024 by Jordan Deglise Moore

When he accepted the Palme d’Or for his colorful, authentic, surprising, exciting, thrilling comedy Anora earlier this year at Cannes, writer-director Sean Baker (Tangerine, The Florida Project, Red Rocket) spoke eloquently about seeing movies in theaters. You can watch the whole thing online, but here’s the key excerpt:
“This literally has been my singular goal as a filmmaker for the past 30 years. So I’m not really sure what I’m gonna do with the rest of my life, but I do know that I will continue to fight for cinema because right now, as filmmakers, we have to fight to keep cinema alive. This means making feature films intended for theatrical exhibition. The world has to be reminded that watching a film at home while scrolling through your phone and checking mail, emails and half paying attention is just not the way, although some tech companies would like us to think so. Watching a film with others in a movie theater is one of the great communal experiences. We share laughter, sorrow, anger, fear, and, hopefully, have a catharsis with our friends and strangers, and that’s sacred. So I see the future of cinema is where it started: in a movie theater.”
After seeing Anora in a theater, Melissa Kirsch of the New York Times wrote this terrific short piece which was posted over the weekend:

“It’s the season when many festival darlings, the films that critics saw and loved in Cannes, Venice, Telluride and Toronto, finally arrive in theaters, and this year, it feels different. More exciting? More like the old days? I’ve been making a concerted effort to actually go and see movies in the movie theater instead of waiting for them to arrive on streaming platforms, and it’s been paying off gloriously.

“The movies I’ve seen recently — “Didi,” “Megalopolis,” “Anora,” “Saturday Night” — have felt urgent and exciting: complicated stories with complicated characters, not a superhero franchise among them. I didn’t love all of these movies equally, but I loved seeing them, loved being in the dark drinking up their writers’ and directors’ idiosyncratic visions. And I loved the intention that led to the experience: I made a decision to see a movie, went to an establishment expressly built for that purpose, sat and paid attention for the length of the film and then, only then, returned to nonmovie life. Contrast that experience with the half-attention I so often pay a movie on a streaming platform, watching it in installments over several nights, maybe on an iPad, maybe while I’m brushing my teeth.

“Each movie I saw in the theater, I talked about afterward, with the friends accompanying me, with colleagues the next day. Some of the movies I’ve streamed — some abandoned before completion — I’ve discussed with no one. As the Times critic A.O. Scott wrote in his wonderful essay “Is It Still Worth Going to the Movies?”: “Just as streaming isolates and aggregates its users, so it dissolves movies into content. They don’t appear on the platforms so much as disappear into them, flickering in a silent space beyond the reach of conversation.” I’m willing to wager that no filmmaker ever made a movie hoping or expecting that it would end up beyond the reach of conversation.

“Not every movie you watch has to be a means of connecting with other people, but it could be. Walking out of “Anora” the other night, chatting with friends, comparing the film with the director’s previous ones, I realized how rare the experience of seeing a movie with a group had become for me. Once, it was commonplace, a weekly tradition. Every Sunday evening when I was 14 and 15, my friends Justin and Tracy and I would go with one of our moms (we couldn’t yet drive ourselves) to the SoNo Cinema, an art-house theater in South Norwalk, Conn., where we saw films that would never be shown in our suburb’s mainstream theaters. We saw Hugh Grant in Ken Russell’s horror movie “The Lair of the White Worm.” We saw “Babette’s Feast,” the first Danish film to win an Oscar for Best Foreign Language Film, and Pedro Almodóvar’s “Women on the Verge of a Nervous Breakdown.” After, we’d go out to dinner and discuss what we’d just watched.

“Searching for information about the theater, I found stories about its struggles to stay open over the years, its various fund-raising efforts. “I’m convinced that a lot of the young people we used to draw are raising families now and watching video rental films at home,” the owner told The Times in 1987, the same year we went to SoNo to see the British film “White Mischief,” about the Happy Valley murder case in Kenya. It closed not long after.

“I’ve over-romanticized those early adventures in theatergoing (I’m not the only one — “the movie house equivalent of ‘The Secret Garden,’” Tracy called it when I asked her recently). But the truth is, my friends and I still discuss the movies we saw at SoNo, how they informed our ideas of what life after high school might be like. And while I’m not going to argue that we’re as impressionable in middle age as we were when we’d been alive for barely more than a decade, my recent trips to the movies have convinced me that whenever the option presents itself, the right move is to see the movie in the theater.”

We are proud to open Anora this Friday at the Glendale, Monica Film Center, and NoHo and November 8 at the Claremont. It is fantastic and even better in a theater.

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Filed Under: Claremont 5, Director's Statement, Featured Films, Filmmaker's Statement, Films, Glendale, NoHo 7, Santa Monica, Theater Buzz

THE EYE OF THE SALAMANDER Opens Friday.

October 27, 2024 by Jordan Deglise Moore

THE EYE OF THE SALAMANDER

Opening at the Laemmle Glendale on Friday, November 1

Q&A with Writer/Director Pavel Nikolajev and Producer Olga Polevaya on Saturday, November 2 following primetime showing

An Aztec pyramid figurine found in the ancient city of Teotihuacan in the Valley of Mexico stores a dark secret, which is discovered by professor Hiscock, a non-traditional hero, who will learn quantum teleportation the hard way, facing primal folklore fears and his alter ego in the gruesome catacombs of uncharted realm.

DIRECTOR’S STATEMENT

“I had a vision to create a film about instant teleportation via an ancient artifact for quite some time and was finally able to finish the script when my son was born, and I had a parental break. Weirdly, COVID that followed helped in creating the creature costume when everybody was locked in and I had plenty of time to do it right. 

For filming, we tried using the style / look & feel of the classic ’80s/’90s Sci-Fi/Thriller films which I’m a big fan of, so most of the effects are practical with minimal CGI! The same technique I used in my previous film HEADSOME. Everything else was just good old exhausting indie filmmaking!” 

-Pavel Nikolajev

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Filed Under: Director's Statement, Filmmaker in Person, Films, Glendale, Q&A's, Theater Buzz

UNION Q&A schedule.

October 16, 2024 by Jordan Deglise Moore

Union Q&A schedule:

Royal 10/23: co-director Brett Story, producer Samantha Curley, and subject Chris Smalls;

Monica Film Center 10/25, 7:20 PM show: co-directors Steve Maing and Brett Story, producer Samantha Curley, and subject Chris Smalls with Adam Conover moderating;

Monica Film Center 10/26, 4:20 PM show: co-director Steve Maing, producer Samantha Curley, subject Chris Smalls, and UTLA president Cecily Myart-Cruz;

Glendale 10/26, 7:20 PM show: co-director Steve Maing, producer Samantha Curley, and subject Chris Smalls;

Glendale 10/27 noon show: co-director Steve Maing, producer Samantha Curley, and subject Chris Smalls.

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Filed Under: Filmmaker in Person, Films, Glendale, Q&A's, Royal, Santa Monica, Theater Buzz

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

October 16, 2024 by Jordan Deglise Moore

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

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

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

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

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

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

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Filed Under: Featured Post, Films, Glendale, Greg Laemmle, Inside the Arthouse, Q&A's, Santa Monica, Theater Buzz

NURSE UNSEEN Q&A schedule at the Laemmle Glendale.

October 11, 2024 by Jordan Deglise Moore

NURSE UNSEEN Q&A schedule

Friday 10/11
1:30 PM

Q&A with director/producer/lead editor Michele Josue and producer Carlo Velayo
7:10 PM
Presented by SoCal Filipinos & FilAm Creative
Q&A with director/producer/lead editor Michele Josue and producer Carlo Velayo, and cast members: Jollene Levid, Nora Levid, Gertrude Tan, Joyette Jagolino, Shantell Pambuan, Tiffany Olega, Allison Mayol

Saturday 10/12
1:30 PM

Presented by The Council of Young Filipinx Americans in Medicine (CYFAM)
Q&A with director/producer/lead editor Michele Josue, producer Carlo Velayo, and Alex Argame, CYFAM Community Engagment Co-Chair, RN, Medical Student.
Moderated by CYFAM’s Antonio Moya
7:10 PM
Presented by SEIU 121RN
Q&A with director/producer/lead editor Michele Josue, producers Carlo Velayo and Joe Arciaga
Moderated by SEIU 121RN representative

Sunday 10/13
1:30 PM

Presented by FANHS OCIE
Q&A with director/producer/lead editor Michele Josue and producer Carlo Velayo
Moderated by Erin Manalo-Pedro, FANHS OCIE
7:10 PM
Q&A with director/producer/lead editor Michele Josue and producer Carlo Velayo

Monday 10/14
1:30 PM

Q&A with director/producer/lead editor Michele Josue and cast member Tiffany Olega
7:10 PM
Q&A with director/producer/lead editor Michele Josue and cast members: Tiffany Olega and Allison Mayol

Tuesday 10/15
7:10 PM

Presented by Adventist Health Glendale
Q&A with director/producer/lead editor Michele Josue and cast member Tiffany Olega
Moderated by Carey Li, Dir. of Process Improvement, Adventist Health Glendale
Wednesday 10/16
1:30 PM

Q&A with director/producer/lead editor Michele Josue
7:10 PM
Q&A with director/producer/lead editor Michele Josue

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Filed Under: Filmmaker in Person, Films, Glendale, Q&A's, Theater Buzz

STOLEN TIME Q&A schedule.

October 9, 2024 by Jordan Deglise Moore

Stolen Time Q&A schedule:
(1) Thursday 10/17, Royal, 7:20pm
  • Moderator: Thyonne Gordon (AARP California)
  • Panelists: Fernando Torres-Gil (Director, UCLA Center for Policy Research on Aging), Dr. K. Madara Marasinghe (Oxford Institute of Population Aging) + film participant Melissa Miller
(2) Friday 10/18, Glendale, 7:30pm
  • Moderator: Laura Nix
  • Panelists: Melissa & filmmaker Helene Klodawsky
(3) Saturday 10/19, Glendale, 7:30pm
  • Moderator: Lydia Storie (Caring Across Generations)
  • Panelists: Astrid Zuniga from (United Domestic Workers), Melissa & Helene
(4) Sunday 10/20, Glendale, 12:45pm
  • Moderator: Astrid Zuniga (United Domestic Workers)
  • Panelists: Rachel Tate (Vice President, Ombudsman Services at WISE & Healthy Aging), & Melissa

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Filed Under: Filmmaker in Person, Films, Glendale, Q&A's, Royal, Theater Buzz

RULE OF TWO WALLS Q&A schedule.

October 9, 2024 by Jordan Deglise Moore

Rule of Two Walls filmmaker David Gutnik will participate in Q&A’s after the October 22 and 25-27 screenings at the Laemmle Royal and the October 23 screening at the Laemmle Glendale. The moderators:
Tuesday, October 22 ~ Sharon Stone
Wednesday, October 23 ~ Marina Mazepa
Friday, October 25 ~ Yan Gordienko

Saturday, October 26 ~ Vlad Klimchuk

Sunday, October 27 ~ Amman Abbasi

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Filed Under: Filmmaker in Person, Films, Glendale, Q&A's, Royal, Theater Buzz

FOOD AND COUNTRY Director Laura Gabbert: “Ruth [Reichl] and I set out to follow the unfolding stories of innovators in every corner of America experimenting to transcend a broken food system.”

October 2, 2024 by Jordan Deglise Moore

Ruth Reichl—trailblazing New York Times food critic, groundbreaking Gourmet Magazine editor, best-selling memoirist, and, for decades, one of the most influential figures shaping American food culture—grows concerned about the fate of small farmers, ranchers, and chefs as they wrestle with both immediate and systemic challenges as the pandemic takes hold.

In Food and Country, Reichl reaches across political and social divides to discover innovators who are risking it all to survive on the front lines. As one person leads her to the next, she follows the unfolding stories of ranchers in Kansas and Georgia; farmers in Nebraska, Ohio, and the Bronx; a New England fisherman; and maverick chefs on both coasts. As she witnesses them navigate intractable circumstances, Reichl shares pieces of her own life, and, in doing so, begins to take stock of the path she has traveled and the ideals she left behind. Through her eyes, we get to know the humanity and struggle behind the food we eat. As Reichl says: “How we grow and make our food shows us our values– as a nation and as human beings.

Food and Country filmmaker Laura Gabbert will participate in Q&As after the 10/9 and 10/10 screenings at the Laemmle Monica Film Center and Glendale. The regular engagement at the Royal begins on October 11.

DIRECTOR’S STATEMENT

“What drives me as a filmmaker is finding ways to put us inside, to humanize someone else’s experience; in short to connect us. My own instincts lead me back to food stories again and again because they’re a rich prism through which to understand culture and our relationships to each other. Food is a conduit, a vehicle that connects people to people, and people to culture.

“My 2015 documentary, City of Gold, is about the late Jonathan Gold, the first food writer to win a Pulitzer Prize for criticism. Jonathan’s writing gave me a way to understand and love Los Angeles. He wrote about restaurants and food as the gateway to connection and empathy across perceived boundaries in a city bursting with multiple cultures and ethnicities. In my next culinary film, Ottolenghi and the Cakes of Versailles, decadent cakes became an expression and critique of contemporary excess, and laid bare our longing for community in a world of inequity and exclusion. Food and Country, my third food foray, was prompted by Covid, but it’s not actually about Covid; it’s about the people behind our food. Transcending blue state/red state politics, their resilience and ingenuity are the heart of this film.

“In March 2020, as the Covid-19 pandemic took hold, I saw that independent restaurants were the canary in the coalmine and began to worry about the restaurant owners, chefs, and workers with whom I had grown close while making City of Gold. Knowing so many people in the food world with urgent, compelling stories that needed to be told, I felt I had to document their plight. How they would adapt to survive. I wondered how the potential loss of these businesses would change the fabric of our communities and cities.

“Just as I was preparing to film struggling Los Angeles restaurants, storied food writer Ruth Reichl reached out to me and said, “I hear we’re working on something similar. Let’s talk.” Ruth was taking a bigger picture approach to the crisis — grasping right away the devastating impact the pandemic could have on the entire food chain. Ruth and I quickly decided to join forces and began reaching out to pivotal players in food through video calls. Ruth’s stellar reputation as chronicler and voice of American food culture for the last four decades opened doors, but everywhere we turned, it was Ruth’s authenticity, curiosity, and warmth that inspired trust and elicited truth telling. People across the front lines of the food chain and political divides — from the most celebrated chefs, to food equity activists, to farmers and ranchers— wanted to talk with her. And, we would soon learn, they also wanted to open up and confide in her, and even seek solace. But the connection between Ruth and our characters is a two-way street. Just as they rely on Ruth, so too does Ruth lean on them for insight and closeness.

“Ruth and I set out to follow the unfolding stories of innovators in every corner of America experimenting to transcend a broken food system. Collectively their story is the story of all independent businesses fighting to survive an ever-consolidating industry. Their stories also hold up a mirror. How we make and grow our food tells us who we are as a country, who we are as human beings.” — Laura Gabbert

 

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Filed Under: Director's Statement, Featured Films, Filmmaker in Person, Filmmaker's Statement, Films, Glendale, Q&A's, Royal, Santa Monica, Theater Buzz

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Upcoming films in our Worldwide Wednesday series include movies from Brazil, Japan, France, Australia and Kazakhstan.

CROUPIER 25th Anniversary Screening with Clive Owen in Person June 4 at the Royal.

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Croupier actor #CliveOwen will participate in a Q&A following the June 4 screening at the Royal.  Producer-marketing consultant #MikeKaplan will introduce the screening.

Clive Owen, who had mainly appeared in British television dramas before this, rose to full-fledged movie stardom as a result of this movie. He plays an aspiring writer who takes a job at a casino where he juggles a few romantic relationships and also has to contend with a robbery threat. Alex Kingston, Gina McKee, Kate Hardie, and Nicholas Ball costar. The script was written by Paul Mayersberg, who also wrote Nicolas Roeg’s 'The Man Who Fell to Earth' and 'Eureka,' as well as Nagisa Oshima’s 'Merry Christmas, Mr. Lawrence.'
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