The official blog of Laemmle Theatres
In Exhibiting Forgiveness, which we open on October 18 at the Laemmle Claremont, Monica Film Center, NoHo and Town Center, Tarrell (Andre Holland) plays an admired American painter who lives with his wife, singer Aisha (Andra Day), and their young son, Jermaine. Tarrell’s artwork excavates beauty from the anguish of his youth, keeping past wounds at bay. His path to success is derailed by an unexpected visit from his estranged father, La’Ron (John Earl Jelks), a conscience-stricken man desperate to reconcile.
Tarrell’s mother, Joyce (Aunjanue Ellis-Taylor) a pious woman with a profound and joyful spirituality, hopes that Tarrell can open his heart to forgiveness, giving them all another chance at being a family. Tarrell and La’Ron learn that forgetting might be a greater challenge than forgiving in this raw and deeply moving film.
“This is a powerful film about the limits of forgiveness, and the ways religion is often misused as a tool for total redemption, no matter the sin.” ~ Robert Daniels, RogerEbert.com
“An emotionally wrenching drama set to resonate with those who have also had to confront the complicated equation of radical forgiveness.” ~ Benjamin Lee, Guardian
“Exhibiting Forgiveness sends you out on a note of hope, but it’s not exactly a feel-good movie. It’s a feel-the-reality movie, a drama willing to scald. That’s its quiet power.” ~ Owen Gleiberman, Variety
“There are more strengths than weaknesses in Exhibiting Forgiveness, especially when it comes to the performances, which hook us to the emotional grooves of Tarrell’s family.” ~ Lovia Gyarkye, Hollywood Reporter
“It’s painful and it doesn’t necessarily heal, but it’s a full experience, exceptional in its craft, with performances that cannot be dismissed or be forgotten.” ~ William Bibbiani, TheWrap
“Andre Holland brings immense feeling to his role as an artist haunted by childhood trauma, and writer-director Titus Kaphar’s semi-autobiographical feature debut is suffused with pain, anger and sorrow.” ~ Tim Grierson, Screen International
“Tarrell’s non-judgmental approach embraces shades of grey rather than seeing things in black and white. He doesn’t vilify anyone, nor does he try and mine heroism in suffering.” ~ Namrata Joshi, The New Indian Express
“As Tarrell, Holland gives a soulful performance, radiating pain and anguish.” ~ Jourdain Searles, indieWire
“Art comes to the rescue, as Exhibiting Forgiveness lends its healing hand on everyone, on and off the screen.” ~ Tomris Laffly, Harper’s Bazaar
“As an artist grappling with the psychological damage done by his estranged father, Holland is a wonder of tightly contained hurt and anger. He’s got great scene partners in John Earl Jelks, Aunjanue Ellis-Taylor, and Andra Day.” ~ Richard Lawson, Vanity Fair
“Exhibiting Forgiveness doesn’t flinch from showing how dysfunctional familial relationships wound and scar repeatedly. But the film itself isn’t cynical or bitter, illustrating how art holds the power to not only help us process and recover but transform.” ~ Randy Myers, San Jose Mercury News
“True to its name, the film puts the concept of forgiveness on display and asks us to spend some time in front of it and consider it from all angles.” ~ Ross McIndoe, Slant Magazine
“Exhibiting Forgiveness proves you do not need other people’s acknowledgement or approval to find forgiveness within yourself.” ~ Valerie Complex, Deadline Hollywood Daily
Stripped for Parts: American Journalism on the Brink documents a crisis: Hedge fund Alden Global Capital is quietly gobbling up newspapers across the country and gutting them. No one knows why, until journalist Julie Reynolds begins to investigate. Her in-depth reporting, over several years, triggers rebellions across the country by journalists working at Alden-owned newspapers. Backed by the NewsGuild union, the newsmen and women go toe-to-toe with their “vulture capitalist” owners in a battle to save and rebuild local journalism in America. Who will control the future of America’s news ecosystem: Wall Street billionaires concerned only with profit OR those who see journalism as an essential public service and the lifeblood of our democracy?
We open Stripped for Parts: American Journalism on the Brink this Friday at the Royal. Filmmaker Rick Goldsmith will participate in Q&As following the 4:10 and 7:10 PM screenings on Saturday, October 5.
The latest episode of Inside the Arthouse, hosted by Laemmle Theatres President Greg Laemmle and Emmy award-winning director-actor Raphael Sbarge, is all about Stripped for Parts. You can hear it wherever you get your podcasts or right here on YouTube. (Also, watch for an Inside the Arthouse episode with The Outrun filmmaker Nora Fingscheidt this Friday!)
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
Adapted from the bestselling memoir by Amy Liptrot, The Outrun follows a young Scotswoman (the always-fantastic Saoirse Ronan) as she returns to the wild beauty of her native Orkney Islands hoping to come to terms with her past and heal after living life on the edge in London. The director/co-writer Nora Fingscheidt sat for an in-depth interview with Filmmaker Magazine in which she details her process — from writing the screenplay with Liptrot, to working with Ronan, as well as the director of photography, editor, and sound designers. An excerpt:
Filmmaker: Because addiction is a sensitive subject matter and in this case, it’s your co-writer Amy Liptrot’s real life, I am wondering what sort of responsibility you felt in telling this true story. How did you collaborate with her on the page and elsewhere? How did you approach her story?
Fingscheidt: It’s a very challenging book to translate into a film because it is so personal and internal; much of it is about memory. But what makes it so beautiful is Amy’s thought process about the world. And I thought the film needed to be really nerdy in a way [especially when it came to her environmental pursuits]. So I pitched this approach to both Amy and our producers. And then I went into solitude with the book by myself for a couple of months actually. I color-coded every page in different areas. There is childhood, music, London, Orkney, sound elements, facts about the world… And then I went through it again and put all the little moments that I thought have to be in the film on different cards and arranged them. Then I wrote a treatment.
And from that moment on, we started to collaborate really closely. Amy read every version, and we spent hours on Zoom. She isn’t a celebrity who’s used to having their life portrayed. And her parents are there in the story. So I felt that I had to include her and protect her at the same time. Every decision that we made for the adaptation in changing, fictionalizing or dramatizing things, we made together. One of the first things we did is change her name to have a healthy creative distance. Amy suggested Rona, which is the name of a Scottish island. Saoirse loved it—it’s almost like Ronan. And it also has Nora in it. And it is the island behind the horizon when Amy was sitting on the outrun. So the character name was a mixture of the three of us.
Filmmaker: Did Saoirse spend time with Amy in crafting her performance, or did she approach it more freely to not do an impersonation?
Fingscheidt: Very early on she asked me, “Do you want me to sound like Amy?” Because Saoirse is Irish, we knew she would have to take on another accent. And we said, please don’t try and sound like Amy. Find your own voice, your own interpretation of Rona. That gave her a lot of liberty. She is a very physical actor, so she took quite a while preparing with a London choreographer, Wayne McGregor, whom she has worked with before. They worked a lot on how Rona moves: when she’s with her parents, when she’s happy-drunk or messy-drunk or trying to hide it; when she’s in a good mood or when she loses control. She also worked with a dialogue coach to get into this talk process. That physicality, the voice, and then the experiences like helping deliver lambs on the farm that we did at the pre-shoot helped her get into the bones and guts of Rona’s character.
We’re excited to open The Outrun on October 4 at the Royal, NoHo, Town Center, and Newhall.
“A picture of cruel realities. It’s a deliberate, nimble drama, one about major slights, class imbalance, and rampant homophobia.” ~ Robert Daniels, RogerEbert.com
“Anger is alien to Yeung’s style but it is sometimes justified, and without it, All Shall Be Well is a plea for understanding that should by now, by rights, be a demand.” ~ Jessica Kiang, Variety
“All Shall Be Well is undoubtedly an old-fashioned drama, but it is no less effective for that classic structure.” ~ Fionnuala Halligan, Screen International
“All Shall Be Well illustrates Yeung’s keen eye for the nuances of social dynamics, especially regarding matters of wealth and class that many may prefer to skirt around when it comes to family.” ~ Josh Slater-Williams indieWire
“Yeung’s latest feature is generous but never indulgent, taking the approachable genre of the family drama and placing it in the context of topical issues in today’s queer Hong Kong.” – Olivia Pope, Asian Movie Pulse
Laemmle Theatres and the Anniversary Classics Series present a 30th anniversary screening of John Dahl’s sexy neo-noir thriller, ‘The Last Seduction.’ A fantastic Linda Fiorentino plays a reincarnation of the treacherous femmes fatales of 1940s classics like ‘The Maltese Falcon’ and ‘Double Indemnity.’ Bill Pullman and Peter Berg play the patsies whom she entraps. Bill Nunn and J.T. Walsh co-star. The dark, twisty screenplay was penned by Steve Barancik. We’ll screen the film at the Royal at 7 PM on Tuesday, October 8 and host Mr. Dahl for an in-person post-screening Q&A.
Fiorentino plays Bridget Gregory, who steals a payoff that her crooked lawyer husband has scored in a drug deal and flees to a small town in upstate New York. There she seduces a naïve young man played by Berg and eludes and outsmarts her husband, a detective, and all other men who try to get the better of her. The character’s name may be a kind of homage to the character of the treacherous Brigid O’Shaughnessy (Mary Astor) in ‘The Maltese Falcon,’ the film that helped to launch the film noir cycle in 1941.
In the 1940s the rigid Production Code mandated that femmes fatales be punished for their misdeeds, but Hollywood morality had changed in recent years, and characters played by Kathleen Turner in ‘Body Heat’ and Sharon Stone in Basic Instinct got away with their crimes. Fiorentino’s character took the new amorality even further. According to Roger Ebert, who ranked the film one of the 10 best of 1994, ‘The Last Seduction’ “gives us a diabolical, evil woman and goes the distance with her… We keep waiting for the movie to lose its nerve, and it never does.” Leonard Maltin agreed that the film is a “sizzling, sexy thriller from modern film noir expert Dahl and writer Steve Barancik.”
The New York Times’ Janet Maslin called the film “a devilishly entertaining crime story,” and she added, “Both Mr. Dahl, who directs this film with stunning economy, and Ms. Fiorentino, whose performance is flawlessly hard-boiled, exult in the sheer wickedness of Bridget’s character.” Mick LaSalle of the San Francisco Chronicle agreed that Fiorentino’s character was “the most full-blown yet utterly believable femme fatale to come along in years.” Fiorentino was named best actress of the year by both the New York Film Critics Circle and the London Film Critics Circle.
Dahl had previously demonstrated a flair for film noir in ‘Kill Me Again’ and ‘Red Rock West.’ He went on to direct ‘Rounders,’ ‘You Kill Me,’ and ‘Joy Ride,’ along with episodes of acclaimed TV series ‘Dexter,’ ‘Ray Donovan,’ ‘Billions,’ and ‘Yellowstone.’
An official selection of the Telluride and Locarno Film Festivals, The Falling Star is the latest caper from Dominique Abel & Fiona Gordon (Lost in Paris, The Fairy) filters the language of film noir through their characteristically colorful palette to create a series of deceptively minimalistic set pieces that recall the best of Jacques Tati and Buster Keaton. Abel plays Boris, a former activist hiding from his dark past, keeping in the shadows as a barkeeper until a one-armed vigilante finally hunts him down. The fortuitous appearance of a double – the depressive recluse Dom (also played by Abel) – seems to offer the perfect decoy. But his tenacious and loopy ex-wife, the private eye Fiona (Gordon), could foil their master plan.
We open The Falling Star this Friday, September 20 at the Royal.
“Next time someone wistfully insists, ‘They don’t make ’em like they used to,’ why not point that nostalgic cinephile to the work of Dominique Abel and Fiona Gordon? The Belgium-based creative couple are almost single-handedly keeping the classic burlesque tradition alive on-screen.” – Peter Debruge, Variety
“Unique and poetic…a symphony of primary colours, scenes composed as if paintings, bodies which speak louder than words, dances which suddenly possess the various characters, and irresistible visual ingeniousness (only they could find such sublimity in toilet paper).” – Aurore Engelen, Cineuropa
Directors’ note: “The Falling Star, our fifth film, takes place in a world of social turmoil: today. Every time we open the door we can hear the chant: a world with no conscience is destroying the world. We’ve placed our disgraced political hero in this contemporary context. Boris continues to bury his head in the sand whilst all around him, ardent activists protest for a fairer, cleaner world. In parallel, we follow a more intimate struggle with Dom and Fiona, two social misfits who continue to exist in a world that continues to exist without them.”
On their style: “Our films are often described as “poetico-burlesque.” By crossing the road from physical comedy to film noir we aren’t abandoning our desire to create laughter. We’re exploring a more bitter palette. Pessimism, nihilism and melancholia irrigate The Falling Star, but our ensemble of morally inept characters fill our film noir with vibrant, jubilant color.”
Fiona Gordon was born in Australia in 1957, Dominique Abel in a small Belgian town called Lobbes the same year. After their studies (theatre for Fiona, economics for Dominique) they studied theater and movement with Jacques Lecoq, Philippe Gaulier & Monika Pagneux in Paris, where they met.
In the eighties, they created several physical theater shows that toured worldwide and founded their company, COURAGE MON AMOUR.They took their first film directing steps in the nineties with three shorts, then began making features, often with their accomplice, Bruno ROMY.