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Tickets: http://laemmle.com/film/blind-willow-sleeping-woman | Subscribe: http://bit.ly/3b8JTym | A lost cat, a giant talkative frog and a tsunami help a bank employee without ambition, his frustrated wife and a schizophrenic accountant to save Tokyo from an earthquake and find a meaning to their lives in the animated feature Blind Willow, Sleeping Woman. Based on stories by acclaimed Japanese author Haruki Murakami (Drive My Car), the debut of composer Pierre Földes won the Jury Special Mention award at the renowned Annency Animation Film Festival.

Tokyo, a few days after the 2011 earthquake and tsunami. Kyoko suddenly leaves her husband after spending five days in a row glued to unfolding

Tickets: http://laemmle.com/film/blind-willow-sleeping-woman

RELEASE DATE: 4/14/2023

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

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Tickets: http://laemmle.com/film/sanson-and-me | Subscribe: http://bit.ly/3b8JTym | During his day job as a Spanish criminal interpreter in a small town in California, filmmaker Rodrigo Reyes (499) met a young man named Sansón, an undocumented Mexican immigrant who was sentenced to life in prison without parole. With no permission to interview him, Sansón and Reyes worked together over a decade, using hundreds of letters as inspiration to create a portrait of a friendship navigating immigration and the depths of the criminal justice system.

Tickets: http://laemmle.com/film/sanson-and-me

RELEASE DATE: 3/20/2023
Director: Rodrigo Reyes

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ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

Subscribe to Laemmle's E-NEWSLETTER: http://bit.ly/3y1YSTM
Visit Laemmle.com: http://laemmle.com
Like LAEMMLE on FACEBOOK: http://bit.ly/3Qspq7Z
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Tickets: http://laemmle.com/film/sweetwater | Subscribe: http://bit.ly/3b8JTym | Hall of Famer Nat "Sweetwater" Clifton makes history as the first African American to sign an NBA contract, forever changing how the game of basketball is played.

Tickets: http://laemmle.com/film/sweetwater

RELEASE DATE: 4/14/2023

-----
ABOUT LAEMMLE: Since 1938, Laemmle [Theatres] has been showing the finest independent, arthouse, and international films.

Subscribe to Laemmle's E-NEWSLETTER: http://bit.ly/3y1YSTM
Visit Laemmle.com: http://laemmle.com
Like LAEMMLE on FACEBOOK: http://bit.ly/3Qspq7Z
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🎓 SCHOLARS $AVE DOLLARS! 🎟️ $9 tickets for Students w/valid ID and Teachers March 21-23! ⭐ALL SHOWS! 🍿 Plus Popcorn Discounts! laemmle.com ... See MoreSee Less

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☘️ WEAR GREEN ☘️ $AVE GREEN ☘️ $2 OFF your concessions order!⭐ St. Patrick's Day! Friday March 17th Only!-Movie ticket purchase not required-Like and show this post!🎟️ laemmle.com/discounts ... See MoreSee Less

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Los Angeles premiere of AMERICA! From the award-winning director of "The Cakemaker"! 100% "FRESH" on Rotten Tomatoes! Thursday, March 16th @ 7pm with director Ofir Raul Graizer in-person for Q&A - Exclusively at Laemmle Royal "Extraordinarily moving! Will stay with you long after you leave the theater." -The Jerusalem Post / JPost.com 🎟️ laemmle.com/film/americaWINNER - Best Actress (Oshrat Ingedashet) | Jerusalem Film FestivalWINNER - Audience Award | Philadelphia Jewish Film FestivalWINNER - Critics Jury Prize | Miami Jewish Film Festival ... See MoreSee Less

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Home » Theater Buzz » Page 3

The Top Ten Films of 2022 contest results are in!

January 25, 2023 by Jordan Deglise Moore 2 Comments

And the Top Ten Customer-Chosen films of 2022, in order from 1 to 10, are [drum roll]:

  1. Everything Everywhere All at Once
  2. The Banshees of Inisherin
  3. TÁR
  4. The Fabelmans
  5. RRR
  6. Top Gun: Maverick
  7. Nope
  8. Aftersun
  9. Triangle of Sadness
  10. Decision to Leave

It’s a terrific list, arguably better than the one AMPAS announced this week, which excluded RRR, Nope, Aftersun and Decision to Leave. Films 2-4 and 9, hyperlinked for your convenience, are still in theaters!

Randomly chosen winners for free Laemmle movie passes are:
1) Jodi Siegner
2) Drew McAnany
3) Jacob Berman
Thanks to everyone who played!

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Filed Under: Claremont 5, Contests, Featured Post, Films, Glendale, Newhall, NoHo 7, Royal, Santa Monica, Theater Buzz, Town Center 5

Top Ten Films of 2022 contest ends Sunday: Tell us your favorites for a chance to win free movie passes!

January 18, 2023 by Jordan Deglise Moore

Keep those Top Ten contest entries coming. You have until this Sunday, January 22 to give it some thought and enter here. So far, unsurprisingly, it looks like many Laemmle moviegoers are kvelling about Everything Everywhere All at Once, Top Gun: Maverick, and RRR. We’ll have final results next week. You can read Greg Laemmle’s list and leading American film critics’ lists if you need inspiration. Personally, my favorite is Jordan Peele’s spectacular Nope. No doubt my reaction was influenced by the fact that I saw it in a packed, sold-out theater on opening night, because movies are better in theaters!

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Filed Under: Claremont 5, Contests, Featured Post, Films, Glendale, Greg Laemmle, Newhall, News, NoHo 7, Royal, Santa Monica, Theater Buzz, Town Center 5

“One of the most visually ravishing pictures of all time,” THE CONFORMIST opens February 3 at the Royal, February 10 at the Laemmle Glendale.

January 18, 2023 by Jordan Deglise Moore

Never has The Conformist been more timely. The new restoration of Bernardo Bertolucci’s 1970 masterpiece about a repressed Italian who becomes a fascist hitman is inspiring a lot of thoughtful journalism. “It’s not the ideology that attracts people to fascism,” writes Eric Alterman in the American Prospect. “It’s the permission it offers to ordinary people to behave like thugs.” In his recent New York Magazine/Vulture review, headlined “It’s Time to See The Conformist Again,” critic Bilge Ebiri describes the film as “one of the most visually ravishing pictures of all time.” Ebiri’s piece is well worth excerpting at some length:

“All great films, at some point, ask the question: Who am I? The greatest films go beyond asking this on a narrative level; through their very form, they embody the question of identity. And what makes Bernardo Bertolucci’s The Conformist (1970) the very greatest of movies isn’t just its staggering, legendary beauty, but its maze-like journey into its protagonist’s — and, by extension, its creator’s — mind.

“The Conformist has just been rereleased in a lovely new 4K restoration, which is certainly cause for celebration given that it’s one of the most visually ravishing pictures of all time. (It’s currently playing New York’s Film Forum, and will soon travel around the country.) There’s no real debate over Bertolucci’s achievement; this is one of those canonical titles whose place in history is a given at this point. You can see its influence in The Godfather series, in Taxi Driver, in movies as varied as Mishima: A Life in Four Chapters, Dick Tracy, Call Me by Your Name, and Clueless — and yet, it remains as startling and revolutionary as it was upon original release, in part because few filmmakers nowadays are willing to embrace the sensuous and the monstrous at the same time. You never quite know what you’re supposed to feel at any given moment of The Conformist, because it asks you to feel everything.”

  

Some praise from past years:

“Bertolucci’s boldest and most expressive film.” – Calum Marsh, Village Voice

“It’s easy to overlook how stark The Conformist‘s political and allegorical message is because it’s just so damn beautiful.” – Aja Romano, Vox

“One of the greatest-looking movies ever made.” – Ben Sachs, Chicago Reader

“Bernardo Bertolucci is a master of turning harsh realities into free-flowing dreams and fantasies of sex and power into bracing, often uncomfortable moments of truth…The Conformist is perhaps his richest and most beautiful work.” – Max O’Connell, IndieWire

We are proud to open The Conformist at the Royal on February 3 and the Laemmle Glendale on February 10.

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Filed Under: Featured Films, Films, Glendale, News, Press, Repertory Cinema, Royal, Theater Buzz

Based on Stefan Zweig’s final novella, CHESS STORY “shows how incredibly quickly a seemingly firmly anchored free world can tip over into a dictatorship.”

January 11, 2023 by Jordan Deglise Moore

Vienna, 1938: Austria is occupied by the Nazis. Dr. Josef Bartok (Oliver Masucci) is preparing to flee to America with his wife Anna when he is arrested by the Gestapo. As a former notary to the deposed Austrian aristocracy, he is told to help the local Gestapo leader gain access to their private bank accounts in order to fund the Nazi regime. Refusing to cooperate, Bartok is locked in solitary confinement. Just as his mind is beginning to crack, Bartok happens upon a book of famous chess games. To withstand the torture of isolation, Bartok disappears into the world of chess, maintaining his sanity only by memorizing every move. As the action flashes forward to a transatlantic crossing on which he is a passenger, it seems as though Bartok has finally found freedom. But recounting his story to his fellow travelers, it’s clear that his encounters with both the Gestapo and with the royal game itself have not stopped haunting him. Adapted with opulent attention to period detail by filmmaker and opera director Philipp Stölzl, Chess Story brings Stefan Zweig’s stirring final novella to life.

Chess Story opens January 20 at the Monica Film Center.

“Stölzl craftily melds the genres of period drama and psychological thriller, not for the purposes of reheated nostalgia, but to shed a cold light on the recursions of historical trauma.” ~ William Repass, Slant Magazine

“The adaptation of Chess Story is one of the rare cases in which the film has not only managed to leave the original behind, but to surpass it. Visually intoxicating.” ~ Süddeutsche Zeitung

“This film…moves because of Oliver Masucci, who acts with fantastic despair. And because of the wonderful Birgit Minichmayr.” ~ Der Spiegel
 

STATEMENT BY DIRECTOR PHILIPP STÖLZL

“I encountered The Royal Game [the alternative title of Chess Story] at a very early age. Zweig’s mysterious and impressive story etched itself into my memory and is one of those stories that have accompanied me in one way or another through my entire life. When Philipp Worm and Tobias Walker told me about their plans to make a new film version, I was delighted, read the screenplay with interest – and loved it.

“Our aim was to make a sensuous, intense feature film that would appeal to a wider audience with a brilliant cast, tight production and powerful visuals that really fill the whole screen. The contrast between claustrophobic imprisonment and the expanse of the ship that pounds across the Atlantic to America through the endless mist creates a field of tension in which Zweig’s literary metaphor can be told as a “big” story.

“The nice thing about the very courageous approach of screenwriter Eldar Grigorian to The Royal Game is that it represents a kind of condensation of the surreal secret that the novella already contains. The Kafkaesque pitch Zweig has chosen for his narrative becomes a decisive inspiration on the journey of the material to the big screen.

“On the one hand there is the intense, restrictive chamber play about the duel between Bartok and Gestapo man Böhm, who interrogates him and has him tortured. Then there is the – seeming – voyage to America and on board the game against the silent and enigmatic world chess champion. The persistent mist gives the journey something surreal, as if the giant ship were a barge of the dead, and the passengers mere ghosts. For this reason, the fact that this all turns out to be a dream in Bartok’s head is not a denouement or a surprise in the traditional sense, but more the final chord of a gloomily poetic tale. And finally, the prisoner’s battle against his own insanity in the solitary confinement cell, which he tries to escape from with his “mental chess” and at the same time achieves the opposite, sliding further in instead. Here, the film is an intense trip, because we are very close to our protagonist and accompany him down into the abyss and mental confusion.

“All these narrative levels are interwoven and initially “make sense.” But the longer Bartok is in solitary confinement and loses touch with reality, the more mysterious things become on the ship, the more the audience also become lost in a labyrinth that resembles an oppressive daydream. To this extent I would say that in this film, Zweig’s more distanced experimental design becomes a cathartic, intense and emotional vexatious game that will hopefully enchain and grip the audience.

“Zweig’s story did not end the way the film does. The bleak, dismal ending of his novella expresses the fear of impending Nazi world rule. We, however, know that it turned out differently, that it became light again after a dark night. And we want the audience to leave the cinema with this meaningful and encouraging certainty.

“The backdrop to all this is the true story about Nazi Germany’s annexation of Austria. This political level of The Royal Game makes the film timelessly relevant because it shows how incredibly quickly a seemingly firmly anchored free world can tip over into a dictatorship. It tells of how thin the layer of skin of a civilisation is and how close to the surface barbarism lies. And it tells us in this way to be alert.” ~ Philipp Stölzl, 19 October 2020

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Filed Under: Director's Statement, Featured Films, Films, News, Press, Santa Monica, Theater Buzz

“If watching a Jafar Panahi film is something of a political act, then it is also a soul-nourishing one.” NO BEARS opens Friday at the Royal, January 20 at the Claremont, Glendale and Town Center.

January 11, 2023 by Jordan Deglise Moore

A statement from Jafar Panahi, unjustly imprisoned since July 2022 by the fascist theocrats in Tehran:

“We are filmmakers. We are part of Iranian independent cinema. For us, to live is to create. We create works that are not commissioned. Therefore, those in power see us as criminals. Independent cinema reflects its own times. It draws inspiration from society. And cannot be indifferent to it.

“The history of Iranian cinema witnesses the constant and active presence of independent directors who have struggled to push back censorship and to ensure the survival of this art. While on this path, some were banned from making films, others were forced into exile or reduced to isolation. And yet, the hope of creating again is a reason for existence. No matter where, when, or under what circumstances, an independent filmmaker is either creating or thinking about creation. We are filmmakers, independent ones.”

Some of the copious praise for No Bears, the film he finished just before being arrested:

“If watching a Jafar Panahi film is something of a political act, then it is also a soul-nourishing one.” ~ Barry Hertz, Globe and Mail

“[Panahi’s] work has not astonished like this in some time.” ~ Glenn Kenny, RogerEbert.com
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“There’s an urgency and a currency to No Bears that is evident even if you didn’t know Panahi is currently serving a six-year sentence for “producing anti-government propaganda,” both of which add a sting to its final act. You leave feeling like you’ve just seen a truly extraordinary late work produced by one of the era’s greatest working auteurs, quickly followed by the sense of experiencing a sucker punch when you remember that the man driving away from the scene of the crime onscreen isn’t able to go anywhere once that screen fades to black.” ~ David Fear, Rolling Stone
*
“Panahi, whose courage and honesty are beyond doubt, has made a movie that calls those very qualities into question, a movie about its own ethical limits and aesthetic contradictions.” ~ A.O. Scott, New York Times
*
“It’s a fierce critique of small-town traditionalism and religious dogma. But while this is an angry and ultimately devastating movie, it’s also a surprisingly playful and inventive one.” ~ Justin Chang, NPR’s Fresh Air
*
“There’s no way to watch this film without feeling mournful, or fearing for the man who made it.” ~ Stephanie Zacharek, TIME Magazine

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Filed Under: Claremont 5, Director's Statement, Featured Films, Featured Post, Films, Glendale, News, Press, Royal, Theater Buzz, Town Center 5

Contest! Submit your Top Ten Films of 2022 for a chance to win gift cards & read Greg Laemmle on TÁR, RRR, HALLELUJAH and the seven other films on his 2022 Top Ten.

January 5, 2023 by Jordan Deglise Moore

Have you caught up on the 2022 movies you wanted to see? Regardless, it’s time to submit your Top Ten lists. Tell us which films you liked best here and you’ll be entered into a raffle for free Laemmle gift cards! If you need inspiration, here’s Greg Laemmle on the state of arthouse moviegoing and his favorite features of the last year, with some thoughts about each:

“At some level, the best that can be said is that at least we were open for all twelve months of the year. And after 2020 and 2021, that was a positive. But given that the year both started and ended with Omicron surges, the movie exhibition sector is still not in a post-Covid environment.

“For those of us who have returned to communal moviegoing, there were some memorable movies to see. But overall, we are still dealing with fewer movies in release, less review coverage in the local press of theatrically released films, and distributor marketing campaigns for critically driven films that are still adjusting to the new landscape. There are hopeful signs. But we are still not out of the woods.
“But enough about the business. How about the films! Following is my Top 10. Like all lists, this is a work in progress, given that there are a number of films which I have not yet had a chance to watch. So if you are wondering why something is not included, it may just be that I haven’t gotten around to seeing it…yet!”
#1 – TÁR – I will admit that there is something emotionally unsatisfying about this film. But not every story can be tied up in a neat bow at the end, and such is the case here. The complex character at the center of this tale is a mass of contradictions, and to its credit, the film does not try to smooth out the rough edges. Built around Cate Blanchett’s masterful performance, Todd Field’s film is one that grows richer with each viewing.
#2 – RRR – If my top film is one that requires rigorous viewing, this #2 title is perhaps the polar opposite. But director S. S. Rajamouli is equally in control of his canvas, and the resulting film is again something that provides pleasure after repeated viewing.
#3 – HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG – There have been a number of worthwhile Leonard Cohen documentaries. But in focussing on the lengthy process involved with the creation of his most famous (and most covered) song, this film reveals something about the spiritual quest that each of us go through, and becomes something more than a film about a famous work of art. It is a revelation about the universal search for meaning.
#4 – HOLY SPIDER – Another spiritual journey. But this time, a cautionary tale about how the desire to do God’s work in the world can be corrupted. And all that is wrapped up in a taut thriller that features two great performances.
#5 – LIVING – I’m not a fan of remakes. And given that Akira Kurosawa’s IKIRU is a favorite, there was every reason to dislike this film. And yet, it gets so much right, being both respectful of the original film and understanding the need to bring the tale into a new and different setting. No film delivered as much emotionally in 2022, aided no doubt by Bill Nighy’s tremendous lead performance.
#6 – CORSAGE – Another film that benefits from a masterful lead performance. Vicky Krieps is terrific in this beautifully made costume drama. But as much as we focus on the corsets and gowns from a different era, we are really drawn into the inner life of this complex historical figure. Kudos to director Maria Kreutzer for for the complete film that supports and enhances the lead performance, creating a whole that is so much more than the sum of its parts.
#7 – CHA CHA REAL SMOOTH – Too few people saw this terrific American indie film, the sophomore effort from actor-writer-director Cooper Raiff. That’s a real shame as I found it to be one of the year’s more interesting efforts. You can find it on Apple TV, and hopefully the interplay between Raiff, the emotionally raw Dakota Johnson, and the newcomer Vanessa Burghardt delivers the same punch. I look forward with great anticipation to filmmaker Raiff’s next picture.
#8 – THE BATMAN – Yes, it’s long. Yes, it’s dark. Yes, it is a commercial film. But it is also a work that represents the singular vision of director Matt Reeves, marshalling all the talents both in front of and behind the camera to present his spin on this oft-told tale. I’m an indie guy. But I also believe that Hollywood should be given its due when it gets things right. And with this film (also TOP GUN: MAVERICK and – in a different way – ELVIS), the raw power of studio filmmaking is clear.
#9 – THE NORTHMAN – Director Robert Eggers (THE LIGHTHOUSE) was given a huge budget to make this Nordic tale. That may not have made the most financial sense, but the film itself delivers. Look for big screen revival showings.
#10 – ONLY IN THEATERS – Is it fair to include this on my list? Probably not. But is it fair to exclude it? Director Raphael Sparge’s documentary about the history of Laemmle Theaters, and our struggles over the past few years as we weathered bad box office and then the pandemic is 100% fresh on Rotten Tomatoes, so critics agree that it is a worthy effort. And so many people have approached me at the theatres to say how much they enjoyed the film as well. As we work in the coming year to rebuild our business, this film reminds us how powerful and worthwhile the experience is of seeing a movie with an audience in a movie theatre. And isn’t that something to be thankful for?
Happy New Year and Happy Moviegoing,
Greg Laemmle

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Filed Under: Claremont 5, Contests, Featured Post, Films, Glendale, Greg Laemmle, Newhall, News, NoHo 7, Royal, Santa Monica, Theater Buzz, Town Center 5

The 2023 Oscar Shortlisted Documentary Features.

January 3, 2023 by Jordan Deglise Moore

Since the 2009 Oscars, the Academy of Motion Picture Arts & Sciences has nominated ten feature films per year for Best Picture, the only category to honor more than five titles. The advance notice of the shortlist for the feature documentaries comes close to that kind of inclusivity and we’re happy to shine a projector bulb light on ten of the fifteen of them this month. We currently have a daily engagement of ALL THE BEAUTY AND THE BLOODSHED in Glendale and are adding another this Friday in Claremont. We’ll screen CHILDREN OF THE MIST in Glendale, Santa Monica and Claremont as part of our Culture Vulture series. We will screen ten of the remaining fifteen of these brilliant movies this weekend and next at the Laemmle Glendale and at the Monica Film Center:

ALL THAT BREATHES: Amidst the darkening backdrop of Delhi’s terrible air pollution and escalating violence, two brothers devote their lives to protecting Black Kite raptors.
*
BAD AXE: An Asian-American family in Trump’s rural America fights to keep their restaurant and American dream alive in the face of a pandemic, neo-Nazis, and generational scars from the Killing Fields.
*
FIRE OF LOVE: Intrepid scientists/lovers Katia and Maurice Krafft died in a volcanic explosion doing the very thing that brought them together: studying volcanoes by capturing the most explosive imagery ever recorded.
*
HALLELUJAH: LEONARD COHEN, A JOURNEY, A SONG: A focus on one of his masterpieces.
*
HIDDEN LETTERS: Two Chinese women try to balance their lives as independent women while confronting the traditional gender roles that define but also oppress them.
*
THE JANES: Using code names, blindfolds and safe houses, a clandestine network of woman built an underground service for women seeking safe, affordable, illegal abortions.
*
LAST FLIGHT HOME: A stunning verité account of a family confronting the end of an extraordinary life.
*
MOONAGE DAYDREAM: A cinematic exploration of Bowie’s genius.
*
RETROGRADE: The last months of the war in Afghanistan through the experiences of Green Berets and the Afghan officers they trained.
*
THE TERRITORY: A young Indigenous Brazilian leader and his mentor defend the Amazon and an uncontacted group living deep in the forest.

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Filed Under: Claremont 5, Films, Glendale, News, Santa Monica, Special Events, Theater Buzz

Culture Vulture 2023 starts off strong in Glendale, Newhall and Santa Monica with Nobel laureate Annie Ernaux.

December 25, 2022 by Jordan Deglise Moore

Happy New Year! We’re welcoming 2023 with five powerful titles in our long-running Culture Vulture series: The Super 8 Years; Children of the Mist; Filmmakers for the Prosecution screening with Nuremberg: Its Lesson for Today; and Geographies of Solitude.

The Super 8 Years, January 23 & 24: One of France’s most respected contemporary writers, 2022 Nobel Prize laureate Annie Ernaux’s intimate and autobiographical body of work captures the inner lives of women alongside societal and cultural changes in France from the 1960s onwards. A natural extension of her literary work in its form and content, The Super 8 Years shows the pastimes, lifestyle and aspirations of a social class in post-1960s France through the lens of the Ernaux family archive. Read Manohla Dargis’ rave review in the New York Times: “The film’s images have faded, but the memories they’ve stirred up are vivid and full of feeling…short, potent, quietly elegiac.”

Children of the Mist, January 30 & 31: In a village hidden in the mist-shrouded Northwest Vietnamese mountains resides an indigenous Hmong community, home to 12-year-old Di, part of the first generation of her people with access to formal education. A free spirit, Di happily recounts her experiences to Vietnamese filmmaker Diễm Hà Lệ, who planted herself within Di’s family over the course of three years to document this unique coming of age. “Diem’s intimate access and sensitive approach, together with editor Swann Dubus’ keen eye for texture and detail, make for a compelling and eye-opening drama.” ~ Nikki Baughan, Screen Daily

Filmmakers for the Prosecution screening with Nuremberg: Its Lesson for Today, February 6 & 7: Filmmakers: Near the end of WWII, filmmaker John Ford, head of the Field Photographic Branch of the OSS, assigns the Schulberg brothers to carry out a special mission: track down German footage and photographs of Nazi atrocities in order to convict the leaders scheduled to stand trial. Nuremberg: One of the greatest courtroom dramas in history, the film shows how prosecutors built their case against Nazi war criminals using their own films and records. “Haunting and vivid. What this documentary shows is how a vital and indispensable principle of humanity was restored.” [on Nuremberg] – A. O. Scott,  New York Times

From ‘Filmmakers for the Prosecution.’

Geographies of Solitude, February 13 & 14: An immersion into the rich ecosystem of Sable Island, a remote sliver of land in the Northwest Atlantic, the film follows Zoe Lucas, a naturalist and environmentalist who has lived there for over 40 years collecting, cleaning and documenting marine litter that persistently washes up on the island’s shores. Shot on 16mm and created using eco-friendly filmmaking techniques, Geographies of Solitude is a playful and reverent collaboration with the natural world filled with arresting images and made with an activist spirit. “A work of art.” – Marc Glassman, POV Magazine “A beguiling and poetic film.” – Wendy Ide, Screen Daily

From ‘Geographies of Solitude.’

Tickets for all the films are now on sale. Couple changes: west side Culture Vulture screenings are now at the Monica Film Center instead of the Royal and the Monday screenings will start at 7 PM instead of 7:30 PM. Also screening at our Glendale and Santa Clarita theaters.

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laemmle Laemmle Theatres @laemmle ·
16 Mar

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Lyndsey Turner (Hamlet) directs this contemporary new staging, designed by Tony Award-winner Es Devlin (The Lehman Trilogy).

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