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The official blog of Laemmle Theatres

“When you have Julia in your head, it’s bliss, because it just makes me funnier, knowing that she’ll do it.” Nicole Holofcener and Julia Louis-Dreyfus on YOU HURT MY FEELINGS, opening Friday.

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Gifted writer-director Nicole Holofcener (Lovely and Amazing, Can You Ever Forgive Me?, The Last Duel) has a new comedic drama we’re thrilled to open Friday at our Claremont, Glendale, Santa Monica, Newhall, North Hollywood and Encino theaters. You Hurt My Feelings is her second collaboration with Seinfeld and Veep legend, 11-time Emmy Award winner and Mark Twain Prize for American Humor recipient Julia Louis-Dreyfus. The first was Enough Said, with James Gandolfini. Hopefully the two collaborate again because this one’s a gem too. Alissa Wilkinson of Vox described the movie as “warm-hearted and rueful and hilarious in all the best ways” while Brian Tallerico of RogerEbert.com wrote that it’s “one of [Holofcener’s] smartest and funniest films.”

The New York Times just published a joint interview with Holofcener and Louis-Dreyfus. Here’s an excerpt:

Was there an inciting incident that prompted this film?

NICOLE HOLOFCENER It started brewing as soon as I started screening my movies or having people read my scripts, wondering if they’re telling me the truth or not. And believing that I can tell. What a nightmare this situation would be, if somebody that close to me revealed to someone else that they didn’t like my work, or even just one of my movies. They have to love everything, in other words, for me to feel safe.

JULIA LOUIS-DREYFUS She’s very sensitive.

HOLOFCENER I just came up with a what-if. What would be the worst scenario of somebody telling me they love something and me not believing them? I do have friends that I don’t believe. And there’s one person in particular that I don’t believe. I’m actually OK with it. Because I know they love me and get me and clearly they’re wrong. I mean, it hurts a little. They didn’t admit it.

Since Nicole wrote this script with you in mind, did you connect to it immediately?

LOUIS-DREYFUS Yes. I think it’s interesting to consider the notion of worth and self-worth. Am I my work? And who am I without my work? That’s certainly something I like to think about. And that this is ostensibly a great relationship between a married couple, and then the wheels just totally fall off the bus. That was kind of terrifying to consider.

I told Frank Rich [the former New York Times columnist who was an executive producer of her series “Veep”] the premise of this before we shot it. He audibly gasped.

HOLOFCENER Oh good. That’s my audience. Not the p

eople who would hear the premise and go, ‘Yeah, so what? Like, what planet are you from?’

Since you wrote this with Julia in mind, did that change your approach?

HOLOFCENER [To Louis-Dreyfus] Just don’t listen, because it’s going to sound stupid.

[Louis-Dreyfus throws her cappuccino-stained napkin over her head to avoid eye contact.]

HOLOFCENER When you have Julia in your head, it’s bliss, because it just makes me funnier, knowing that she’ll do it. She just sparks my imagination.

Is there a scene that you wouldn’t have written if Julia wasn’t your lead actress?

LOUIS-DREYFUS Oh God.

HOLOFCENER Certainly, I can see other actors doing the scenes differently, and I’m so glad they’re not in it and she is.

What scene specifically?

HOLOFCENER The scene where she’s sitting on the couch with her sister, she’s smoking pot. This is after she’s heard the bad news; she’s crying. It’s tragic. And you really feel for her, but you’re laughing because of that face.

LOUIS-DREYFUS Oh gee, thanks.

HOLOFCENER Julia walks a very fine line between comedy and drama. And that’s what I like to do with my writing. I didn’t have to do much, or anything, for her to get what I mean. We know this movie is about something fairly minor in the world of things.

LOUIS-DREYFUS But also very major.

HOLOFCENER But in the big picture, we’re not going to be crying for her. We hope she’ll get over it. But I think that scene works because she seems like she’s about 16. I think all of us are sometimes still 16. Especially when it comes to getting approval or not getting approval. I still think of myself that way. So that’s funny to see a grown-up person behave like they’re 16, in an honest way. Not in a movie way. Or a histrionic or a silly way.

Click here to read the full New York Times piece.

“Lucid and searching, scorching and incantatory,” Ralph & Sophie Fiennes’ FOUR QUARTETS opens May 16 at the Monica Film Center.

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Ralph Fiennes’s exquisite performance of T. S. Eliot’s masterpiece is dynamically translated from stage to screen by director Sophie Fiennes (Grace Jones: Bloodlight and Bami, The Pervert’s Guide to Ideology). During the early days of COVID, the Academy Award® nominee set himself the challenge of committing Four Quartets to memory, and in 2021 he brought it to the London stage followed by a tour of theaters across the UK. Written by Nobel Prize winner Eliot in the shadow of the Second World War, the poem is a searching examination of who – and what – we are. This celebrated meditation on human experience, time, and the divine offers up questions, imagery, and emotions that bear a powerful relevance to our present day while remaining some of the most gorgeous poetry in the English language.
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“Fiennes, in his beautifully grave way, slows the poem down for us, speaking the words with rapt deliberation, so that we live in their moment. He delivers the Four Quartets as if the entire 16-poem suite were a single fractured Shakespearean monologue, lucid and searching, scorching and incantatory, all revolving around the desire to know. Fiennes sings like Gielgud, roils like Olivier, lends lines a mocking undercurrent like Ben Kingsley, and imbues it all with a world-weary grandeur that is very Ralph Fiennes. He recites Eliot’s poem as the music it is, and you feel that Eliot, through the drama of Fiennes’ presentation, comes across as nothing less than the 20th-century Shakespeare, reaching for the cosmos but driven by a deconstructive impulse, a need to take apart the forces that shape the very questions he’s asking.” ~ Owen Gleiberman, Variety

 

“Ralph Fiennes casts a spell.” – Nick Curtis, Evening Standard

“The hypnotizing, affecting performance that Fiennes extracts from this thicket of uncertain meanings and recondite references is a beautiful testament to what Eliot himself once said: ‘Genuine poetry communicates before it’s understood.’” – Dan Einav, Financial Times

“Fiennes imbues Eliot’s last great poem with all the drama of a Shakespearean soliloquy in a magnificent, intimate theatrical experience.” – Arifa Akbar, The Guardian

“A staggering experience that is going to be best seen in a darkened room where you can get lost in the words which are amplified and expanded by Fiennes’ physical performance…this is a masterclass of acting and a magnificent film. See it.” – Steve Kopian, Unseen Film

A film that “raises the bar for trans stories onscreen,” MONICA opens Friday at the Laemmle Claremont, Glendale, Monica Film Center and NoHo.

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Monica is an intimate portrait of a woman who returns home after a long absence to confront the wounds of her past. Reconnecting with her mother and the rest of her family for the first time since leaving as a teenager, Monica embarks on a path of healing and acceptance. The film delves into her internal world and state of mind, her pain and fears, her needs and desires, to explore the universal themes of abandonment and forgiveness.

Monica marks a major first foray into U.S. theaters for filmmaker Andrea Pallaoro, a fresh new voice in Italian cinema who has been making a stir with audiences overseas. A collaboration between breakout star Trace Lysette (Transparent), Oscar nominee Patricia Clarkson, and Emily Browning, the film stood out at last year’s Venice Film Festival, where it competed for the Golden Lion, Queer Lion, and won the Arca CinemaGiovani Award for best Italian Feature before eventually screening in competition at major film festivals in Chicago, Annecy, and Warsaw.

Critical praise for Monica has been almost universal:

“Monica raises the bar for trans stories onscreen, and Lysette takes her rightful place as its muse.” ~ Jude Dry, indieWire

“With uncommon sensitivity toward the interior lives of its characters, as well as to the shifting codes of trans representation, Monica is a film about making amends, where the person who deserves the apology is also the one doing all the work.” ~ Peter Debruge, Variety
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“Monica is an intimate look at the complexity of grief, reconciliation and family.” ~ Tracy Brown, Los Angeles Times
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“A quiet, heartfelt, and beautifully nuanced drama that feels unique and universal.” ~ Peter Sobczynski, RogerEbert.com

“Director Andrea Pallaoro doesn’t burden this delicate tale of reconciliation with long monologues or extensive back stories, and the performances are compelling in their restraint.” Teo Bugbee, New York Times

“Placing a uniquely trans story in the center of a well-worn road creates a path to a new sentiment to be granted to a tale that many people have and will face in their life.” ~ Niko Stratis, Autostraddle
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“Monica is a wondrous work in terms of painting with light, in which the select shadows tell their own story.” ~ Nick Allen, RogerEbert.com

“Director and co-writer Andrea Pallaoro banishes easy sentiment and proselytising in this touching film, allowing the audience to take a journey with the titular Monica and discover her story on the way.” ~ Fionnuala Halligan, Screen International

STAY AWAKE Q&A schedule at the Royal.

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Stay Awake Q&A schedule at the Royal:

5/25 – Jamie Sisley (writer-director) and cast members: Wyatt Oleff, Fin Argus, Cree Cicchino and Chrissy Metz.

5/27 — Jamie Sisley (writer-director) and cast members: Wyatt Oleff, Fin Argus, Cree Cicchino

5/28 — Jamie Sisley (writer-director).

“A subtle, bold and thoroughly feminine political thriller,” CHILE ’76 opens May 19 at the Royal.

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Chile ‘76, director Manuela Martelli’s second feature film, is set during the early days of Augusto Pinochet’s dictatorship. It builds from quiet character study to gripping suspense thriller as it explores one woman’s precarious flirtation with political engagement. We open the film on Friday, May 19 at the Royal.
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“An intimate psychosocial character study that unfolds at a national scale. This isn’t a story about one affluent woman’s gradual radicalization against authoritarianism, it’s a story about the illusion of not taking sides.” ~ David Ehrlich, indieWire

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“Martelli’s film demonstrates remarkable skill in reconstructing he time period, giving consideration both to recreating the appearance of the era and its emotional tenor.” ~ Teo Bugbee, New York Times

 

“At all times, and in every way, Chile ’76 is a film defined by layers, with pleasant everyday facades masking a dark, corrupt authoritarian underbelly.” ~ Nick Schager, The Daily Beast
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“What begins as a muted marital melodrama slowly boils into a restrained political thriller, with an ease and skill all the more impressive in a first feature.” ~ Manuel Betancourt, Variety

“Küppenheim is terrific, her precision and restraint in the role drawing us into the story. Mariá Portugal’s analogue electronic score is eerily atmospheric.” ~ Wendy Ide, Guardian

“An outstanding performance from Aline Küppenheim is the driving force in this engrossing suspense drama-thriller about an elegant and prosperous woman being drawn into Chile’s anti-Pinochet resistance in 1976.” ~ Peter Bradshaw, Guardian

“A subtle, bold and thoroughly feminine political thriller.” ~ Marina Ashioti, Little White Lies

 

VERMEER: THE GREATEST EXHIBITION at the Claremont, Glendale & Monica Film Center May 15 & 16.

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Even if you have the time and money to visit Amsterdam and see the Rijksmuseum’s historic, never-to-be-repeated Vermeer exhibition before it closes on June 4, tickets sold out within hours of being made available last year. However, a good plan B is available next Monday and Tuesday in nearby Claremont, Glendale and Santa Monica: Vermeer: The Greatest Exhibition. (We’ll also be screening Close to Vermeer on July 17 and 18 at the same venues. It’s also about the Rijksmuseum show.)

From Vermeer: The Greatest Exhibition producer and co-writer Phil Grabsky: “If there is one exhibition that I have been asked about more than any other to inquire whether we filmed it for Exhibition on Screen, it is the 1995 Vermeer exhibition at the National Gallery of Art in Washington DC. My Exhibition on Screen brand did not germinate in my mind until 2009 and the first film, Leonardo from the National Gallery, did not emerge until 2011
so, no, we didn’t capture that 1995 show.

“Since then we have made two films with a Vermeer theme: one specifically on Girl with a Pearl Earring and its wonderful home, the Mauritshaus in The Hague, and the second film Vermeer & Music based on a very fine exhibition at the National Gallery in London. But when I heard that the Rijksmuseum was planning the greatest Vermeer exhibition in history, I
knew that the Exhibition on Screen cameras had to be there.

“We weren’t alone in requesting access to show, but we’ve worked at the Rijksmuseum before and they trust us – and, I think, like us. Thus it was, on the eve of the opening, we the team (led by director David Bickerstaff) found ourselves in the enormously privileged position of having the galleries to ourselves to film in. We were given the time to interview the key
participants as well as one of the United Kingdom’s leading art historians. I knew from the minute that I saw this exhibition it was something special but even I was amazed that all tickets sold out within hours for the entire three month run. That only confirms how important it is that as often as we can Exhibition on Screen captures, for posterity, not only the huge efforts of those who put on a show like this but also the way that the art looks when hung together in this way.

“We can only do this if you keep coming to the cinema and spread the word about Exhibition on Screen to your friends and colleagues. Please visit our website for more background clips, etc and lots of offers and goodies. I hope you enjoy the film.”

WILD BEAUTY Q&As May 12 & 13 at the Monica Film Center.

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Friday night Q&A special guests:
Ashley Avis (Writer/Director of WILD BEAUTY & Disney’s BLACK BEAUTY)
Edward Winters (Producer, WILD BEAUTY & Disney’s BLACK BEAUTY)
Richard Avis (Producer, WILD BEAUTY)
Erik Molvar (Executive Director, Western Watersheds Project)
Marty Irby (Top animal lobbyist in D.C.)
Scott Beckstead (Director of Campaigns, Animal Wellness Action)
Kimerlee Curyl (Fine artist)
Saturday Night Q&A special guests:
Ashley Avis (Writer/Director of WILD BEAUTY & Disney’s BLACK BEAUTY)
Edward Winters (Producer, WILD BEAUTY & Disney’s BLACK BEAUTY)

ONLY IN THEATERS now on VOD.

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If you or someone you know want to see the acclaimed documentary about Laemmle Theatres Only in Theaters at home, it’s now available for rent via Amazon Prime, Apple TV, Google Play and other on demand platforms. The film about the 85-year history of the family owned and operated foreign and indie movie exhibition company has been praised as both “heartbreaking and heartening…its subject the movies themselves” (Longtime lead L.A. Times film critic Kenneth Turan). Robert Abele of the Times wrote “like a knotty, poignant family business saga you might see on one of their screens, the story here is beautiful and complicated, one in which the twin weights of legacy and calling bear down on the need to survive in changing times.” The interviewees include Turan, Greg and Tish Laemmle, Allison Anders, Cameron Crowe, Ava DuVernay, Nicole Holofcener, James Ivory and Leonard Maltin.