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“The future of cinema is where it started: in a movie theater.” ~ ANORA director Sean Baker in his Palme d’Or acceptance speech.

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Over the weekend, writer-director Sean Baker (Tangerine, The Florida Project, Red Rocket) was awarded the Palme d’Or, the top prize, at this year’s Cannes Film Festival for Anora, his comedy about a sex worker. New York Times film critic Manohla Dargis called the film “a giddily ribald picaresque.” In his acceptance speech, Baker spoke eloquently about seeing movies in theaters. You can watch the whole thing online, but here’s the key excerpt:
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“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.”

“A full-tilt melodrama with the passionate vehemence of Victor Hugo or Charles Dickens,” KIDNAPPED opens Friday.

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This Friday we open the intense Italian drama Kidnapped: The Abduction of Edgardo Mortara at the Royal and Town Center, which is based on the true story of a Jewish family in 19th century Bologna whose young son was secretly baptized as a baby by his nurse. Years later, the cardinal orders the boy abducted so he can receive a Catholic education. The scandal received wide attention at the time and now gets a terrific film adaptation by Marco Bellocchio (The Wedding Director, The Traitor, Marx Can Wait) which, among other accolades, earned a Palme d’Or nomination at Cannes and a Best Foreign Film nomination at the César Awards.
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“It is a full-tilt melodrama with the passionate vehemence of Victor Hugo or Charles Dickens, which lays bare an ugly formative episode of Europe’s Catholic church: an affair of antisemitism and child abuse.” ~ Peter Bradshaw, Guardian
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“The director, Marco Bellocchio, anchors the period with a somber visual elegance and employs surreal gestures to tease out the psychological and spiritual aspects of the tragedy.” ~ Lisa Kennedy, New York Times
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“[Edgardo Mortara’s] tortuous journey gets the respect it deserves in this sensitive and beautifully realized drama.” ~ Kyle Smith, Wall Street Journal
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“With stately restraint, Bellocchio manages to put the audience in an ever-tightening chokehold of tension and outrage.” ~ Wendy Ide, Observer

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“The performances, meanwhile, are exemplary, the screenplay powerful, and each scene is lit like high-era Caravaggio.” ~ Kevin Maher, Times

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“Kidnapped is an expertly paced, gorgeously shot and evocative true story of faith, family, and the power of people coming together to right deeply ingrained wrongs.” ~ Barry Levitt, Empire Magazine

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“They don’t know who Fassbinder is and they don’t know who Éric Rohmer is and they don’t know who Kurosawa is. They think they’re modern and they haven’t seen DO THE RIGHT THING. Are you kidding?” Ethan Hawke on encouraging young people to watch older movies.

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Directed and co-written by four-time Academy Award® nominee Ethan Hawke, Wildcat invites the audience to weave in and out of celebrated Southern Gothic writer Flannery O’Connor’s mind as she ponders the great questions of her writing: Can scandalous art still serve God? Does suffering precede all greatness? Can illness be a blessing? In 1950, Flannery (Maya Hawke) visits her mother Regina (Laura Linney) in Georgia when she is diagnosed with lupus at twenty-four years old. Struggling with the same disease that took her father’s life when she was a child and desperate to make her mark as a great writer, this crisis pitches her imagination into a feverish exploration of belief. As she dives deeper into her craft, the lines between reality, imagination, and faith begin to blur, allowing Flannery to ultimately come to peace with her situation and heal a strained relationship with her mother.

We open Wildcat Friday at the Laemmle Claremont, Monica Film Center, Newhall and Town Center and Monday at the NoHo. During his recent press tour to support the release, Hawke spoke passionately about seeing older movies, including his personal favorite (Warren Beatty’s Reds). With one exception (see if you can spot it), we wholeheartedly agree. He name checks some of the greats, including Kurosawa (we’ll be screening Seven Samurai in July) and Fassbinder (we’ll be showing The Marriage of Maria Braun in November as part of our Anniversary Classics series.) What’s more, on May 22 we’ll be screening one of his first movies, Dead Poets Society. From MovieMaker Magazine:

Ethan Hawke hopes he doesn’t sound like the “old man yells at cloud” meme when he says this, but he says it anyway.

“The thing that I don’t understand — and this makes me sound old — but what I don’t understand about young people today is why they don’t watch more movies,” he tells MovieMaker.

“I mean, they’re perfectly willing to binge watch, for weeks of their life, something they know is really super okay [while] they could be watching Badlands as we speak,” he adds.

Hawke is particularly shocked by the lack of film education in young directors, specifically around the greats, like German filmmaker Rainer Werner Fassbinder known for Love Is Colder Than Death (1969) and The Bitter Tears of Petra von Kant (1972).

“They don’t know who Fassbinder is and they don’t know who Éric Rohmer is and they don’t know who Kurosawa is. They think they’re modern and they haven’t seen Do the Right Thing. Are you kidding? It’s on your damn phone, watch it!” he says. “But they’d somehow rather watch some TV show that came out yesterday that they won’t remember.” [EDITOR’S NOTE: Several years ago, David Lynch succinctly addressed the idea of watching a movie on a telephone.]

Make no mistake: “I say all that not to sound crotchety,” he stresses.

“But there’s so much excellence in the past, so many of these thoughts of what we’re all going through emotionally and what we’re looking for — authenticity in our lives and healing — all these common threads of humanity people have been talking about for centuries. Cinema is a young art form, but it’s 100 years old now, and there’s a lot of great work, and you can rip it off madly.”

For those young filmmakers who might be interested in taking some of Hawke’s advice, he also suggests looking to your collaborators for recommendations. Like a director of photography, for example.

“The fun thing about having a great DP is the more you explain what you’re trying to drive at, they can turn you on to, ‘Well, you know who’s also into that idea — let’s watch this film. Let’s steal that shot. That’s a great shot.’ I really enjoy that,” he says.

“But I’m always amazed at how often young people who say, ‘I love movies and I want to make movies’ don’t actually watch movies.”

Click here to read the whole piece.

“This film tells the story of the 1964 Venice Biennale, at a time when State Department officials and a team of unlikely conspirators were joined in their conviction that American democracy was worth the fight.” TAKING VENICE opens May 24.

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The new documentary Taking Venice, which we open next week at the Royal in West L.A. and the Town Center in Encino, uncovers the true story behind rumors that the U.S. government and a team of high-placed insiders rigged the 1964 Venice Biennale – the Olympics of art – so their chosen artist, Robert Rauschenberg, could win the Grand Prize. Director Amei Wallach wrote this about her film:

“I grew up during the Cold War when the world seemed as dangerous as it does today. But it also seemed to be filled with possibility, with the actions of people who dreamed big and took big chances. This was especially true of artists, always looking to build something new. I became an art critic, then an author, and now a filmmaker. My goal is to make films about art that leap out of the art world and into a reckoning with what’s relevant in our lives through the stories that they tell.

Recreation of the 1964 transport of Robert Rauschenberg’s work in Venice canals for exhibition at the Venice Biennale, as seen in TAKING VENICE, a film by Amei Wallach. A Zeitgeist Films release in association with Kino Lorber.

“This film tells the story of the 1964 Venice Biennale, at a time when State Department officials and a team of unlikely conspirators were joined in their conviction that American democracy was worth the fight. They were determined to harness the audacity of American art to promote what was best about democracy. The artist they chose to represent the U.S. in their race to win the Biennale Grand Prize was Robert Rauschenberg, who was by no means a political artist, then. By the time I met him more than a decade later, he had come to believe that art had a more global responsibility.

Transporting Robert Rauschenberg’s Express at the XXXII International Biennale of Art Exhibition, Venice, 1964, as seen in TAKING VENICE, a film by Amei Wallach. A Zeitgeist Films release in association with Kino Lorber. Photo Ugo Mulas.

“The film builds on a tradition of telling the story of America then through the eyes of now because I want it to reflect how much the world and art have changed. I want there to be moments that sting with what we have lost, and moments that encapsulate what we have gained. The stakes are even higher than they were at that scandal-drenched Biennale, as artists everywhere try to create a way forward.”

¡Hasta la victoria siempre! THE MOTORCYCLE DIARIES 20th Anniversary Screenings May 15.

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Laemmle Theatres and the Anniversary Classics Series present the next entry in our Anniversary Classics Abroad series, the biopic drama of the early years of Ernesto Che Guevara, The Motorcycle Diaries (2004). The Academy Award-winning film by director Walter Salles (Central Station) will play for one show only on Wednesday, May 15 at 7:00 pm at five Laemmle locations: Claremont, Encino, Glendale, Newhall, and West L.A. In addition to the Oscar for Best Song, “Al Otro Lado Del Rio,” the film was nominated for Best Adapted Screenplay by playwright Jose Rivera, based on Guevara’s memoir.

  

The film recounts the 1952 road trip by 23-year-old medical student Ernesto Guevara de la Serna (Gael Garcia Bernal) and his friend Alberto Granada (Roberto de la Serna) in a more than four-month, 8,700-mile journey across South America, initially by motorcycle. Originally intended as an adventure for fun and frolic, the two friends are exposed to indigenous peoples and cultural differences they had never experienced. These encounters plant the seeds of radicalization that would manifest as Guevara later emerged as a Marxist guerrilla leader and revolutionary, becoming a global countercultural symbol upon his murder at the age of thirty-nine.

The film is a notable combination of road movie travelogue and coming-of-age drama, beautifully captured by the lustrous cinematography of Eric Gautier as their odyssey traverses the South American continent. Critics of the day responded to this approach with due appreciation. Carla Meyer of the San Francisco Chronicle called it “a superb film about a physical and spiritual journey taken by a young Che Guevara, whose encounters with the unknown alter and affirm a life.” Peter Travers in Rolling Stone said, “in this wild ride of a movie that is part epic poem and part political provocation, it’s the man who holds the screen as a portent of history.”

“Quietly exhilarating, soulful and sincerely romantic.” ~ Terry Lawson, Detroit Free Press

“It’s about the gradual awakening into awareness, the graduation from carefree youth to responsible adulthood.” ~ Steve Murray, Atlanta Journal-Constitution

“An involving, lyrical, and visually beautiful cinematic bildungsroman.” ~ Glenn Kenny, Premiere Magazine

“Whether you want to see The Motorcycle Diaries as entirely a personal story or as social and political allegory, it captures a far different and far more vulnerable Ernesto Guevara than the one we think we know.” ~  Andrew O’Hehir, Salon.com

“What Bernal and this well-wrought movie convey so well is the charisma that would soon become a part of human history and, yes, T-shirts.” ~ Desson Thomson, Washington Post
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“You get so caught up in the beauty of the images, and lost in the weathered faces found along the way, you quite forget that you’re traveling with Che Guevara — which is, of course, exactly what the original experience would be.” ~ Moira MacDonald, Seattle Times
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“Revisits Guevara’s 8,000-mile tour of South America — and the origins of his personal revolution — with humor, exquisite compassion and visual grace.” ~ Carla Meyer, San Francisco Chronicle
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“It’s got poetry to it — the poetry of humanity.” ~ Steven Rea, Philadelphia Inquirer
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“Reaches back to the past to suggest that life is full of turning points, some of which we recognize and some we don’t, and that, in a dangerous world, youth and friendship are to be treasured because, like life, they can pass so quickly.” ~ Michael Wilmington, Chicago Tribune
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“If I was moved despite my ingrained skepticism about Ché Guevara and Castro’s Cuba, you probably will be too.” ~ Andrew Sarris, Observer
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Coming attractions in the Anniversary Classics Series include Dead Poets Society (May 22), From Russia With Love (May 28), The Lovers, Red Desert, A Sunday in the Country, and the Three Colors trilogy: Red, White, and Blue, among others.

“By the pricking of my thumbs, something wicked this way comes:” MACBETH with Ralph Fiennes & Indira Varma

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We’re thrilled to screen Shakespeare’s leanest, meanest tragedy, Macbeth with Ralph Fiennes and Indira Varma, May 2 and 5 only, following its highly acclaimed U.K. tour. It was filmed live at Dock X in London especially for cinemas. Tony and BAFTA Award-winner Fiennes (Antony & Cleopatra, Schindler’s List, Coriolanus) and Olivier Award-winner Indira Varma (Present Laughter, Game of Thrones, Luther) star in this brand-new ‘full-voltage visceral’ (★★★★ Daily Telegraph) production of the Scottish play. Designed for a custom-built space, this gripping and breathtaking play about the couple utterly corrupted by their relentless lust for power is unmissable on the big screen. By the end of the run in London and following seasons in Liverpool and Edinburgh, this production played to sell-out audiences of over 100,000 people at 110 performances. We’ll show Macbeth at our Claremont, Glendale, Santa Monica, Newhall and Encino theaters.

Directed by Simon Godwin (Antony & Cleopatra, Romeo & Juliet, Hansard) with set and costume design by Frankie Bradshaw (Jerusalem, Blues for an Alabama Sky), this stunning production brings ‘Shakespeare’s tragedy pulsing into the present day’ (★★★★★ The I).

Regard this clip. It really gives one a (bloody) taste of what awaits:

Joining Ralph Fiennes as Macbeth and Indira Varma as Lady Macbeth are Ben Allen as Ross, Ewan Black as Malcolm, Levi Brown as Angus, Jonathon Case as Seyton, Danielle Fiamanya as Second Witch, Keith Fleming as King Duncan/Siward, Michael Hodgson as Second Murderer, Lucy Mangan as First Witch, Jake Neads as First Murderer/Donalbain, Richard Pepper as Lennox, Steffan Rhodri as Banquo, Rose Riley as Menteith, Lola Shalam as Third Witch, Rebecca Scroggs as Lady Macduff/Doctor, Ethan Thomas as Fleance, and Ben Turner as Macduff.

Patricia Rozema in person for the new 4K director’s cut restoration of her queer classic WHEN NIGHT IS FALLING + screenings of her latest, MOUTHPIECE.

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We’re proud to soon screen two films by Canadian filmmaker Patricia Rozema: her just-restored 1995 romance When Night is Falling (May 7 at the Royal and May 8 at the NoHo) and her most recent film, Mouthpiece (May 13 & 14 at the Town Center, Monica Film Center, Glendale, and Claremont). Rozema will participate in Q&As after the Tuesday, May 7 and 8 screenings of When Night is Falling at the Royal and NoHo. Tracy E. Gilchrist, VP, Executive Producer of Entertainment for equalpride, will moderate the Royal Q&A.

Long considered to be a pivotal entry in the LGTBQ+ canon, When Night is Falling is a sexy, daring and visually resplendent story about the thrilling temptations of passion. Camille, a Christian academic, is engaged to Martin, a fellow theologian. Then she meets Petra, a flamboyant performer in an avant-garde circus. To her surprise, Camille finds herself falling deeply and almost magically in love. Forced to choose between the woman she wants, and the man who loves her, Camille discovers that the only true duty of the soul is desire.

From WHEN NIGHT IS FALLING.

A Canadian classic that was in Official Competition at the 1995 Berlin International Film Festival, When Night is Falling tells a lesbian story beautifully photographed by Douglas Koch, catching a romantic, wintry Toronto landscape.

Adapted from the play by Amy Nostbakken and Norah Sadava, Mouthpiece follows Cassandra, an aspiring writer who, while struggling to compose a eulogy after the sudden death of her mother, comes to discover that her own rebelliousness is as much a response to the male gaze as her mother’s conformity. Enacting the two sides of Cassandra’s conflicting inner dialogue, playwright-performers Nostbakken and Sadava create a compelling portrayal of the tension between regression and progress that is often found within women.

From MOUTHPIECE

Mark Olson of the L.A. Times just published a good piece about Rozema and her work and also interviewed her, as did Gilchrist for The Advocate:

There’s a scene in Patricia Rozema’s 2018 film Mouthpiece where the main character, Cassandra, is flooded with a memory of her mother, who’s just died. The camera pans the room, lingering on Cassandra’s mother’s books and music. In the frame there appear works by Joni Mitchell, Margaret Atwood, Alice Munro, and the groundbreaking lesbian author, actor, and activist Ann-Marie McDonald, who appeared in Rozema’s first feature, 1987’s I’ve Heard the Mermaids Singing. Through Cassandra’s memories of her mother, Rozema pays tribute to Canada’s great women storytellers, and considering the filmmaker’s body of work, her name belongs among them…Throughout her canon and evident in the restored films is Rozema’s singular poetic film language that includes queer identity, interior monologues, and a duality in her characters or what she refers to as “twoness.” Unburdened by the machine of Hollywood and working from artists’ grants from Canada, Rozema cemented herself as a true auteur out of the gate with I’ve Heard the Mermaids Singing, a self-reflexive and heartfelt comedy about a quirky secretary to a lesbian art gallery owner. The film investigates the nature of art itself, something that Rozema would continue to examine throughout her career.

“But I think I was protecting my ability to make movies, because I was ambitious too. Not for fame or for money but for being able to make movies, which is the best job in the whole fucking world in my mind,” she adds. “I was terrified that I would be shut down. So I was careful, maybe too careful sometimes, so that I think some people wished was different sooner.”

Despite Rozema’s thoughts of being “too careful” at some points, as a progenitor of the Toronto New Wave with the likes of Atom Egoyan and Jeremy Podeswa, her contributions to cinema include making elevated films about queer women with happy or hopeful endings that expanded the notion of fixed sexuality.

“I also spoke quite early about fluidity, a gender continuum, and a sort of orientation continuum,” Rozema says. “At the time, it was very binary: You’re gay or you’re straight. Period. I felt like there’s got to be more colors in this human palette.”

Greg Laemmle on the return of the senior moviegoer.

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We know that over the past four years, you may have become accustomed to hearing bad news from us.  So we are pleased to share some good news. Qualified good news. But still, a sign of improvement.

It appears that older audiences are returning in larger numbers. That’s welcome news for all of us at Laemmle Theatres, and at art houses across the U.S. Before the pandemic, the hand wringing was about the “graying” of the arthouse audience. But since reopening, as arthouses have had success with younger-skewing films, the concern instead has been about how to reconnect with the older audiences that were once weekly guests at our theaters.  

Now, we love showing films like HUNDREDS OF BEAVERS and LOVE LIES BLEEDING. But we also love showing the English-language period films (i.e., Merchant Ivory films), foreign-language romantic dramas (pick your prototypical French film) and non-studio American independent films that are aimed at an audience that grew up in a world without cell phones and the internet. And since reopening, while we’ve had some success with films like THE DUKE, THE TASTE OF THINGS and MOVING ON, we can’t help but notice that the numbers are still not where they would have been in the days before COVID.

But starting at the end of 2023, it felt as if things were beginning to turn around a bit. Films like ANATOMY OF A FALL and THE HOLDOVERS made more of a mark at the box office than “comparable” films did in 2021 and 2022.  And you also have FALLEN LEAVES doing more business than almost any prior film from director Aki Kaurismäki.

So far this year, and leaving aside films that were part of the Oscar race, films like DRIVING MADELEINE, ONE LIFE, THE OLD OAK, FAREWELL MR. HAFFMANN, COUP DE CHANCE and WICKED LITTLE LETTERS are performing better. In fact, the latter four are hanging around, showing good word-of-mouth. These films are still doing a fraction of the business that they would have done pre-pandemic. But better is good. And hopefully, we and our distributor partners can build on this trend.

“When pandemic restrictions eased, many couldn’t wait to get back to the movie theater,” wrote Jon Keller of CBS last year. “But a new study found older adults are in no rush to return. And that trend is about more than just fear of COVID. Before the pandemic, people over 40 bought 41% of all movie tickets in the U.S. and Canada.”

It’s not COVID rates, which a quick check of the L.A. County Department of Public Health website shows are vanishingly low. And the fact remains that seeing a movie in a theater instead of at home is still 1000% better. (We’ll never tire of quoting the filmmaker Andrey Zvyagintsev, who compared watching a movie at home to reading a novel while skipping every other word.)

According to one of Variety’s recent dispatches from the annual trade show CinemaCon, “the box office hasn’t recaptured its pre-pandemic stride — studios estimate that roughly 15% to 20% of frequent moviegoers have yet to resume their old entertainment habits now that COVID has dissipated. Plus, the labor strikes that consumed the media industry for much of the previous year as actors and writers hit the picket lines resulted in production delays that left theaters with fewer movies to hawk on their marquees.”

Big budget popcorn movies that mostly appeal to younger audiences can be fantastic and we happily screen them at some of our venues, but those kinds of films are not Laemmle Theatres’ popcorn and butter, to alter a phrase. The current drama CIVIL WAR may be a surprise hit because it combines action movie elements with serious subject matter, drawing cinephiles of all ages. But what about films with zero guns which are purely cerebral? If audiences don’t turn out for these films, fewer will get made or picked up for distribution; it’s just supply and demand.

How do we reach older moviegoers when the L.A. Times isn’t running reviews?

We are happy to see some new signs of strength recently. But more would be better. So if you know an older moviegoer who used to attend regularly, but no longer does, we’d like to hear why not. Because the existence of a local movie theater that can show, for example, classic reissues like CLASSE TOUS RISQUE (opening May 3 at the Royal!) or the artful woman-made Senegalese drama BANEL & ADAMA (opening June 14 at the Royal!) is not a given.