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THE LOST LEONARDO, the Whole Story of the Most Talked About Painting of the Century.

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THE LOST LEONARDO is the inside story behind the Salvator Mundi, the most expensive painting ever sold at $450 million. From the moment the painting is bought for $1175 at a shady New Orleans auction house, and the restorer discovers masterful Renaissance brush strokes under the heavy varnish of its cheap restoration, the Salvator Mundi’s fate is determined by an insatiable quest for fame, money and power. As its price soars, so do questions about its authenticity: is this painting really by Leonardo da Vinci?

Unravelling the hidden agendas of the richest men and most powerful art institutions in the world, THE LOST LEONARDO reveals how vested interests in the Salvator Mundi are of such tremendous power that truth becomes secondary.

Now playing at our Encino and Pasadena theaters, this Friday we are expanding this fabulous documentary to our Claremont, Glendale, Santa Monica, Newhall, and North Hollywood venues as well.

DIRECTOR’S NOTES by Andreas Koefoed:

This is a film about the incredible journey of a painting, the Salvator Mundi, the Saviour of the World, possibly by Leonardo da Vinci. It is a true story, yet a fairytale worthy of H.C. Andersen: A damaged painting, neglected for centuries, is fortuitously rediscovered and soon after praised as a long-lost masterpiece of divine beauty. At its peak in the spotlight, it is decried as a fake, but what is revealed most of all is that the world around it is fake, driven by cynical powers and money.

The story lays bare the mechanisms of the human psyche, our longing for the divine, and our post-factual capitalist societies in which money and power override the truth. The painting becomes a prism through which we can understand ourselves and the world we live in. To this day there is no conclusive proof that the painting is – or is not – a da Vinci and as long as there is a doubt, people, institutions, and states can use it for the purpose that serves them the most.

Making this film has been a huge team effort. The producers, writers, editor, and DOP have worked side-by-side and devoted so much of themselves to the project. For that I am deeply grateful. It has been a fantastic voyage into secret worlds that are otherwise entirely inaccessible. Worlds in which anything can be bought and sold, where prestige, power, and money play out beneath the beautiful surface of the art world.

The main character is the painting. Brooding over it is its restorer, Dianne Modestini, who began working on it just after losing her husband, Mario, a world-famous restorer himself. For Modestini the restoration becomes a symbiotic process of mourning in which the painting and Mario at times become one. After she lets go of the painting, it is locked away in a freeport somewhere, leaving Dianne feeling alone, and criticized for her work. Did her restoration go as far as to transform a damaged painting into a Leonardo? She is forced to defend herself and her integrity, and seek closure on the painting and her grief.

What fascinates — and disillusions — me is that art is being used for economic speculation and as a token in political games. Art is a beautiful manifestation of human feelings and expressions throughout history. In my view, art belongs to humanity. Instead of being publicly accessible, it is hidden away in freeports and used for cynical and speculative purposes.

None of the prominent institutions involved in the story – The National Gallery, Christie’s, the Louvre, or states of France and Saudi Arabia – wanted to talk, perhaps unsurprisingly. The supposedly independent scientific and scholarly approach to the painting is under enormous political pressure. In the end, not only the painting is lost, but also the truth itself. The painting, a product of the very Renaissance that valued freedom of science and art, ultimately becomes a victim of vested interests and power games. As Jerry Saltz says in the film, the story is “a telling fable of our time.”

I hope the film will engage, surprise and intrigue the viewers who themselves become detectives in the story, leaving them with a question: What do I believe to be the truth?”

https://www.youtube.com/watch?v=KS4NJgdPITk

UNAPOLOGETIC Follows Black Abolitionist Organizers as they Challenge a Complicit Chicago Administration After Two Police Killings.

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The new documentary UNAPOLOGETIC, opening September 3 at the Monica Film Center and on the Laemmle Virtual Platform, captures a tense and polarizing moment in Chicago’s fight for the livelihood of its Black residents. The film follows Janaé and Bella, two young abolitionist organizers, as they work within the Movement for Black Lives to seek justice for Rekia Boyd and Laquan McDonald, two young Black people killed by Chicago police. They aim to elevate a progressive platform for criminal justice to a police board led by Lori Lightfoot and a complicit city administration, while also elevating leadership by women and femmes. Laemmle Theatres opens UNAPOLOGETIC Friday, September 3 at the Monica Film Center and on the Laemmle Virtual platform.

UNAPOLOGETIC subject Bella Bahhs and director Ashley O’Shay will participate in Q&As at the Monica Film Center after the 7:40 screening on Friday, September 3 and after the 1 and 7:40 PM screenings on Saturday, September 4.

What follows is Ms. O’Shay’s artistic statement:

“In the winter of 2012, Rekia Boyd was just getting started in life. Her friends describe her as someone prone to smiles and laughter. She dotted her i’s with hearts, was a big Drake fan, and expressed herself freely on Facebook while trying to figure out her relationship status. In the winter of 2012, I was also just getting started. I was in my first year at Northwestern University’s film program and was one of less than ten Black people in my class. A slew of racist campus events caused me to feel further isolated and pushed me to begin speaking out about how racism affected my everyday. Slowly but surely, I began integrating these realizations into my art.

“If we don’t get it, shut it down!” Janae takes command at a downtown rally credit: Christine Irvine. 

“In March of that same year, Rekia was hanging out with her friends near her home when she was killed by a stray bullet. It took three years for the police officer who shot her to be brought to court, and after years of waiting for justice, it was deemed a mistrial. It seemed that he would walk away without being held accountable.

“Three years later, people of all ages from neighborhoods throughout Chicago came together to organize around their frustration. With nothing but a borrowed camera and monopod in hand, I joined the hundreds descending upon Chicago Police Headquarters to demand justice. The energy was electrifying. Black women on bullhorns stood in front of crowds leading the space. For the first time, I experienced a different narrative unfolding in the enduring struggle for Black freedom – one led by Black feminist voices. I couldn’t help but see myself in them.

Janae fights to be heard at Chicago Police Board meeting. Credit: Ashley O’Shay

“Shortly after, I began to document two of these voices: Janaé Bonsu, a 24-year-old pursuing her PhD in social work while also rising the ranks of a national activist organization; and Bella Bahhs, a 22-year-old “rap-tivist” from the Westside of Chicago whose artistry and activism seek to heal women harmed by intergenerational effects of incarceration – women like herself. Over the course of two and a half years, we watch as these women grapple not only with what it means to lead a mass movement, but also to enter early adulthood as Black, queer women.

Comrades get in formation to shut down a Chicago highway. Credit: Ashley O’Shay

“I have been a filmmaker for nine years now; Unapologetic is my feature film directorial debut. Five years after beginning production, we have completed the film. While this documentation was certainly important at the time of filming, it proves even more essential now, especially in light of the recent killings of George Floyd and Breonna Taylor in 2020. As Lori Lightfoot has become the first Black, openly-queer mayor of Chicago, mainstream media has championed her as a symbol of progressive growth. However, the current reality in the city counters that. After years of intentional work, organizers are working to educate the community around abolishing and divesting from policing, despite a new mayor bolstered by representative politics. Unapologetic intentionally centers the narratives of the Black queer feminist organizers who brought forth the progressive platform that set the stage for Chicago’s historic shift in leadership.

Janae’s mom speaks her truth. Credit: Ashley O’Shay

“I have always known and felt the presence of Black resistance in my life. However, the strong feminine leadership in the Chicago movement caused me to question where my history had been placed. How might my world have been different if I saw a young PhD student or a rapper that looked like me organizing a mass movement? Unapologetic has given me an opportunity to discover more about myself through this legacy of resistance, and take a more active role in it.

Bella and her auntie hit a Chicago step at the Black Soul Nation picnic. Credit: Ashley O’Shay

“What does one usually require of a Black movement leader? Certainly not femme. Certainly not queer. Certainly not flawed, or quick to anger, or overly opinionated. By focusing on this refreshing counter narrative within the Movement for Black Lives, I wanted to recognize this heroic and thankless work, catalyzing empathy, understanding, and hope in all viewers at such a critical time for Black lives.” — Ashley O’Shay

UNAPOLOGETIC director Ashley O’Shay.
https://www.youtube.com/watch?v=wUPVLvL9Rsk

Movie Review Roundup: SEARCHING FOR MR. RUGOFF, THE MEANING OF HITLER, THE MACALUSO SISTERS, EMA.

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Our fine local daily could not cover some excellent recent films so we are mandating a quick recap of film critics’ assessments in other outlets to get these titles get a booster shot of attention:

SEARCHING FOR MR. RUGOFF: Owen Gleiberman of Variety called the film “an enthralling documentary that movie buffs everywhere will want to see… as essential as any chapter of “Easy Riders, Raging Bulls.” Dean of American film critics Leonard Maltin wrote, “It’s rare that a documentary affects me on a personal level but this evoked a flood of memories. The film captures a time and place when movies really mattered to a whole generation. I’m not saying it was better or worse than it is today–just different.” Nicolas Rapold of the New York Times admitted he “got the warm-and-fuzzies from seeing the love here for moviegoing and exhibition, which [Rugoff] goosed with gonzo showmanship.”

THE MEANING OF HITLER: Variety’s Owen Gleiberman wrote, “we go into THE MEANING OF HITLER craving that millimeter of insight, of intrigue and revelation. And the film provides it. It ruminates on Hitler and the Third Reich in ways that churn up your platitudes.” “Myth-busting at its most vital,” wrote Sheri Linden of the Hollywood Reporter. Eric Kohn of Indiewire was forceful: “The movie isn’t just another cautionary tale; it’s a jagged intellectual wake-up call that cuts deep, and America can’t hear it enough.”
THE MACALUSO SISTERS: As of this writing, the new Italian film The Macaluso Sisters still boasts a rare “100% Fresh” rating on Rotten Tomatoes, with praise such as: “Haunting and powerful.” (New York Times); “In just her second feature after the taut street-stand-off drama A Street In Palermo seven years ago, Dante sets a firm seal upon her cross-disciplinary emergence as a director of unusually vivid empathy.” (Variety); “Dante’s film, beautifully done, is never more resonant than when reminding us of the lingering impact of childhood drama and the devastating nature of childhood trauma.” (Times [U.K.]).

The L.A. Times did review the combustible new Chilean film EMA. Katie Walsh called Pablo Larraín’s (Jackie, Neruda) latest “a darkly sensual fable of motherhood and the modern family.” Hannah Strong of Hyperallergic wrote, “In an age of sanitized mainstream cinema, it’s thrilling to watch a film that revels in carnal pleasures.” Writing for the Sydney Morning Herald, Paul Byrnes called the film “mesmerising,” adding, “With a pulsing, angular reggaeton soundtrack from Chilean-American composer Nicolas Jaar, the film throbs and leaps rather than walks.” Check out EMA‘s red band trailer.

“My film is meant to be a tribute not only to one particular person, but all those who are fighting to keep theatrical cinema alive.” Ira Deutchman on his new documentary SEARCHING FOR MR. RUGOFF.

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We are proud to open Ira Deutchman’s excellent new movie about the American art film exhibition business, Searching for Mr.Rugoff, on Friday, August 13 at the Monica Film Center. In The New Yorker, Anthony Lane wrote, “Searching for Mr.Rugoff is an entertaining and instructive jaunt, and it bristles with small shocks.” In Owen Gleiberman’s Variety review, he described it as “an enthralling documentary that movie buffs everywhere will want to see…as essential as any chapter of Easy Riders, Raging Bulls. Ira wrote the following for us:

Searching for Mr. Rugoff, the documentary film that I made and that is opening around the country in August, is the story of a colorful and difficult person who personified the kind of characters who helped to create the art film business as we know it today. In focusing on this particular person, I in no way meant to imply that he was alone in these pursuits. In fact, the project originated as what I thought was going to be an oral history of the art film business as it matured in the 1960’s and 70’s. I ended up focusing on Rugoff because, as a former employee, it was a story that I thought I could tell, but I also interviewed a number of other key figures from that period including Dan Talbot, Meyer Ackerman, Randy Finley and Bob Laemmle.

The thing these folks all had in common was a love of movies and a keen awareness of the tastes and appetites of their own audiences. The business at that time was very much a local enterprise. The success of a particular cinema was a function of location, carving out a specific identity and having the creative energy to make people aware of what was playing. While the distributors would provide a menu of films and the materials to market them, it was up to the local exhibitors to engage directly with the audience. The best exhibitors were the ones who were the most creative in that endeavor. We refer to this now as “old fashioned showmanship,” but it was hardly old-fashioned at the time. It was a critical part of the business. This was even true for major studio films.

This all changed in 1975, when Jaws was released nationally and became a phenomenon. Distributors realized that a wide release, supported by national advertising, was more efficient and had more blockbuster potential than the slower local rollouts that had been the norm up until then. This effectively shifted the marketing responsibility from exhibitors to distributors and is the way most films are generally released to this day.

Independent Film Producer, Distributor, Marketer, Columbia University Professor and Cubs Fan Ira Deutchman.

The exceptions to this were and are the art houses, who never lost their energy or ability to market directly to a local audiences. Those of you who are patrons of Laemmle Theaters can see this firsthand, even if you were not aware of how rare this has become. The fact that you reading this right now is an indication that you have a direct relationship with the folks who are running these theaters. This doesn’t happen by accident.

My film is meant to be a tribute not only to one particular person, but all those who are fighting to keep theatrical cinema alive in the face of many obstacles and much negativity. That’s why I’ve made it available to the art houses as a benefit for their post-pandemic reopening. One hundred percent of your ticket dollars will go directly to support Laemmle Theaters. So come on out and lend your support and I hope you’ll find the film to be an inspirational and fun experience.

https://www.youtube.com/watch?v=ggphmtQSFBo

Documentarian Morgan Neville on Transforming 10,000 Hours of Very Raw Footage into ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN.

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ROADRUNNER is the latest from Academy Award®-winning filmmaker Morgan Neville (20 Feet from Stardom, Won’t You Be My Neighbor?). It’s unflinching look at chef, writer, adventurer, and provocateur Anthony Bourdain and it reverberates with his presence because it’s culled from 10,000 hours of raw footage from his TV shows. It’s “raw” in that most of it is from outtakes, but also in the sense that Bourdain’s technique to help his interview subjects open up was to get very personal with them first.

From Eric Kohn’s recent interview with Neville in Indiewire:

Q: How much footage do you estimate you went through?

A: There was anything from 60 – 100 hours of footage per episode. There were 96 episodes of “Parts Unknown.” That’s just “Parts Unknown.” Then there was “No Reservations” and “Cook’s Tour.” Not all the raw footage exists for those episodes, but it does for certain seasons. Of course, we didn’t go through all the footage, that would’ve taken years and years. We probably went through 10,000 hours. We had six of us all looking at footage, sometimes double-timed, because there was so much to go through. I love archive docs, and this was a unique one because the camera was always there and running. It becomes its own weird, interesting verite thing. It has a behind-the-scenes quality that feels raw, which I wanted to carry over into the telling of it.

Q: How did you narrow down the process?

A: We were going through footage for at least a year. Anytime there was an episode that he talked about or a crew member mentioned, we’d go through those episodes. There were definitely a number of episodes that were easy wins. A lot of the domestic ones. Or whenever Tony was on a beach. You can see that he’s in a different gear in those episodes. It’s pretty easy to tell early in a scene where Tony is phoning it in or actually wants to learn about a person. Those scenes floated to the top pretty quickly.

Q: Given how much of his shows were infused with his personality, what surprised you about the way he came across in this additional footage?

A: One of the biggest challenges early on was not to make the film feel like the show. Among the things that really surprised me was that he was fundamentally a shy person. Once you hear that, it makes sense — you can see that in him — but I don’t think it’s otherwise obvious. He overcame it in a big way, but there was always a part of him that was a little walled off.

When I was first talking to people who worked on the show, they would say, “Tony had this technique, and we didn’t know it was his technique.” When he was shooting a scene with someone he didn’t know, he would open up about himself in a really raw way. The crew would be sitting there wondering when he’d get to the point of speaking about the subject. Eventually he would, but by speaking about himself, he would get other people comfortable talking about themselves.

Of course, they cut all that stuff out of the show. But the raw footage has a lot of Tony revealing a lot about himself to people — knowing it was never intended for broadcast. It was part of who he was. I remember talking to David Simon about Tony and he said the first time he met Tony, the first thing he said was, “Oh, you’re from Baltimore. I tried to score heroin once there and couldn’t.” To which Simon replied, “Then you must have been a terrible junkie.”

Read Kohn’s full piece here.

This behind-the-scenes look at how an anonymous chef became a world-renowned cultural icon is enjoying universal acclaim:

“It feels like an essential document, created in the radical no-reservations spirit in which he lived.” ~ Leah Greenblatt, Entertainment Weekly
“An intimate and fascinating portrait of the beloved celebrity chef and television globe-trotter. It is also, inevitably, a spiritual investigation into why his life ended.” ~ Owen Gleiberman, Variety
“It does what Bourdain’s work did: ROADRUNNER makes you want to jump on a plane, discover a new place, a new culture, eat a great meal, and make a new friend. What could be more valuable?” ~ Jason Bailey, The Playlist
https://www.youtube.com/watch?v=cmtJFKMFU1c

The Soul Lift We Need: Joyous Music Documentary SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) Opens July 2.

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In his acclaimed debut as a filmmaker, Ahmir “Questlove” Thompson presents a powerful and transporting documentary: part music film, part historical record, created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park). The footage was never seen and largely forgotten–until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The feature includes never-before-seen concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Ray Baretto, Abbey Lincoln & Max Roach and more. SUMMER OF SOUL won both the Grand Jury Prize and the Audience Award for Feature Documentary at this year’s Sundance Film Festival. Laemmle Theatres opens in July 2 at the Claremont, Glendale, Monica Film Center, Newhall, NoHo and Playhouse theaters.

https://www.youtube.com/watch?v=slFiJpAxZyQ&t=3s

Reviews have been rapturous:

“A joyous piece of filmmaking, something that I could have watched for literal hours, and contains quite simply some of the best concert footage ever put on film.” ~ Brian Tallerico, RogerEbert.com

“SUMMER OF SOUL is as thoughtful as it is rousing, a welcome shot of adrenaline to kick off not just a film festival but a new year.” ~ Sheri Linden, Hollywood Reporter

Sly Stone performs at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

“You can come for the music and stay for the politics, or vice versa; either way, it’s a vibrant document of an inspiring event that never loses sight of what that event meant for a community, a city and a culture.” ~ Steve Pond, TheWrap

Nina Simone performs at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

“SUMMER OF SOUL stirringly captures the moment when a sea of people in Harlem heard a grand series of voices and said, Yes.” ~ Owen Gleiberman, Variety)

Mavis Staples and Mahalia Jackson performing at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

“Seething through the entire documentary, against the backdrop of a racially turbulent 1960s, is an insistence on a new kind of racial pride and unity across the diaspora, which infuses “Summer” with an honesty and realism.” ~ Tambay Obenson, indieWire

Gladys Knight & the Pips perform at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

“The lack of awareness of this event is another tragic example of black history being ignored. Only this time the record survived, and now we all get to share in it.” ~ Jordan Hoffman, Guardian)

Hugh Masekela performs at the Harlem Cultural Festival in 1969, featured in the documentary SUMMER OF SOUL. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Masking at the Movies.

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Now that Laemmle Theatres is fully reopened — all eight theaters at 50% capacity — now is a good time for a reminder that masks are still required in our lobbies and auditoriums by all managers, staff, and customers. The CDC issues recommendations but the state and county have jurisdiction and both the California and L.A. County health departments continue to require that masks be worn indoors regardless of vaccination status. The only exception for moviegoers: when seated in an auditorium while eating or drinking. We are doing our best to supervise with signage and polite verbal reminders when necessary, and fortunately most of our patrons are being very conscientious.

On an individual level, the vaccines are superbly effective and epidemiologists are saying that people who are fully vaccinated should feel really safe and confident being out in public.

On a community level, however, we still haven’t vaccinated a large enough percentage of the population. And that’s not just about the vaccine hesitant. There are also 12-16 year olds who only recently became eligible.

So for the sake of our community, and to really squelch the transmission of the virus, please stay masked up for the time being.

Hopefully, it will be just a few more weeks.

Back to the Movies: Laemmle Glendale Reopens May 21.

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Next Friday, May 21 we’ll be welcoming moviegoers back to our Glendale theater. We’ll have showtimes and tickets on sale here starting Friday, May 14. The opening slate includes two restorations, the sexy 1969 noir LA PISCINE, starring Alain Delon and Romy Schneider, and the 1973 horror movie GEORGE A. ROMERO’S THE AMUSEMENT PARK; plus the intense Australian mystery THE DRY starring Eric Bana, and the utterly charming, “unabashed crowd-pleaser” DREAM HORSE, starring Toni Collette.
With the opening of Glendale, all eight of our locations have reopened. And with the expansion of our hours of operation, we are essentially fully open. The films that have been held back from release, both arthouse and Hollywood films, are coming out. We really need the public to respond. Vaccination rates in L.A. County are super high. Testing shows that the incidence of the virus is extremely low. We’ve got socially distanced seating. It is safe. It is enjoyable. And it is time to demonstrate support for moviegoing.

L.A. Times Culture Columnist & Critic Mary McNamara just published a terrific personal essay on returning to moviegoing headlined “Vaccinated and Back at the Movies, Together.” Here’s a highlight but the whole thing is worth reading:

“Then the lights went down and for two hours it was as if the pandemic did not exist, had never occurred. TOGETHER TOGETHER was sweet and smart and funny enough, but even if I had hated it, I was at the movies. A haven from heartbreak, anxiety and bad weather of all sorts, a place of necessary solitude, romantic anticipation, friendly bonding and familial celebration.

“After a year of crowded isolation, there were no interruptions from kids needing something; no ambient distraction courtesy of nearby leaf-blower or power tool; no hitting pause to check and see if the meatloaf was done yet. Having committed to it, the experience was literally out of my hands. I couldn’t use this time to also sort laundry or check my emails or do the dishes; couldn’t carry this screen from one room to another to see what the dogs were barking at this time or balance it on the counter while I did the dishes.

“I was at the movies and for two glorious hours all I could do was watch and listen and be.”

Moviegoing is unlike anything else and it’s worth preserving, especially moviegoing at locally owned and operated theaters. L.A. cinephiles, we humbly ask for your support.