Pierrot Le Fou

2/10 - 10:15PM
$12/free for members

Co-presented by La Collectionneuse

“Tendre et cruel… réel et suréel… terrifiant et marrant…” drones the enigmatic Jean-Paul Belmondo, quoting lines from Jacques Prévert in one of Pierrot Le Fou’s many referential gestures. Jean-Luc Godard’s seductive and unwieldy early-career prismatic masterpiece—presented in a dazzling new restoration—is as beguiling a road film as ever.

Belmondo and Anna Karina are a delightfully foolhardy pair, as unpredictable and decadent as their getaway cars and the blue of the Mediterranean sea, as they flee Paris like a crime scene (and perhaps it is) to traipse around the French Riviera, in a narrative that plays alternately as comedy, drama, and sentimental love story, with a touch of an inscrutable energy most precisely articulated by Renata Adler as “gentle lunacy” (NYT). New 4K restoration by Rialto Pictures.

Dir. Jean-Luc Godard, 1965, DCP, 110 min.

Watch the trailer!

The David Bowie Mixtape ENCORE SHOW

2/11 - 10:30PM
$12/free for members

Encore show added due to high demand!

Shapeshifting from frock-rockin’ kook to alien rock god, Thin White Duke to boppin’ new-waver and beyond, he wore many masks, all of them transparent: he was always undeniably Bowie. He revolutionized the concept of rock star, his precision and poise equally captivating onstage and off. Ever the intrepid aesthete, his holistic vision projected pioneering music videos, legendary TV performances and fascinating interviews. In tribute, we celebrate the man and his incarnations through a career-spanning collage portrait of rare ephemera, including music videos (both classic and deep cut), short films, obscure television appearances, interviews and documentary clips. Join us as we marvel at his animal grace, singalong and love the alien.

Watch the Cinefamily original trailer!

La Collectionneuse: The Mother and the Whore

2/12 - 7:30PM
$12/free for members

Co-presented by the French Film and TV Office
Print courtesy of Institut Français and the Cultural Services of the French Embassy

With Jim Smith from The Smell DJ-ing post-show, plus a photo booth on the patio!

A rambling snapshot of the disillusioned new generation in 1973 Paris, Jean Eustache’s The Mother and the Whore is a jewel of French ’70s cinema. Eustache—whose free-form, expressive realism and fiercely independent spirit has inspired greats from Jim Jarmusch to Claire Denis—has been called an “ethnographer of his own reality,” a dandyish neo-Lumiére whose candid representation of a ménage à trois is as lifelike as it gets, featuring Bernadette Lafont and Jean-Pierre Leaud stretching their New Wave caricatures to flamboyant heights, undercut with stark frankness.

Come watch these stylish children of the countercultural revolution drunkenly trample one-another’s egos, staging their battles of the heart on a mattress without a frame and cheating on each other in the same room in this epic anti-Valentine.

Dir Jean Eustache, 1973, 35mm, 219 min.

Print courtesy of IF_Logo-CMJN

FRIDAY NIGHT FRIGHTS: There's Nothing Out There + Copycat (w/ Dir. Rolfe Kanefsky in person!)

2/12 - MIDNITE
$12/free for members

If any horror film could said to be ahead of it’s time, it would be Rolfe Kanefsky’s There’s Nothing Out There. The premise itself — teens partying in a forest-bound cabin being menaced by a malevolent and murderous force — is nothing new. But by making the main character a horror fan who’s extensive knowledge of the genre helps him spot the signs of impending doom, the film prefigures the post-modern, post-Scream boom by a good 5 years. But as cool as that is to acknowledge, the fact is that Kanefsky’s film is a fun, gory ride in its on right that delves out laughs and scares in equal measure and worthy of its own place in B movie history. The true definition of an under-appreciated gem, it’s high time this movie gets a little of the recognition it richly deserves.

Also being shown is Copycat, a short documentary that lightheartedly covers the connections and possible influence on Wes Craven’s trailblazing, post-modern Scream franchise.

Dir. Rolfe Kanefsky, 1991, 35mm, 91 min.
Dir. Charlie Lyne, 2015, DCP, 8 min.

Watch the trailer for There’s Nothing Out There!

ABD's Saturday Morning Cartoons: Love & Hate

SMC feb 480x309
2/13 - 11AM
$10/free for members & children under 14

For this month’s sugar-packed, chocolate-covered, marshmallow-topped special Leap Year edition of Saturday Morning Cartoons, we’ve gathered all the tales of tenderness, feats of friendship, great romances, and cartoon camaraderie we could cram into one show, honoring St. Valentine! Our ode to the great Loves, Hates, and Friendships of the cartoon-iverse features Mickey and Minnie, Popeye and Olive Oyl, Ralph the sheepdog and Sam the wolf, plus plenty of surprises! From classic Pepe Le Pew foul play to modern day Regular Show shenanigans, it’s going to be a Saturday full of love and plenty of Happy Happy Joy Joy!

Curated commercial breaks, all-you-can-eat cereal bar, and a cash bar for the more grown up kids who want to enjoy a mimosa with their cartoons. Pajamas not mandatory, but encouraged.


2/13 - 1PM
$12/free for members

Feat. Live Accompaniment from Cliff Retallick!

The first of three King Vidor films featuring Marion Davies, The Patsy is an energetic and frothy comedy, charmingly driven by its screwball leading lady. Vidor—one of the great filmmakers of the 1920s—made the film at the insistence of William Randolph Hearst, newspaper man and media mogul, who confidently cooked up the idea for this hit. Davies, previously known for drama, shines as something of a proto-teenager in an auspicious start to her collaborations with Vidor, alongside Marie Dressler (as her overbearing mother) and Dell Henderson as her father. Don’t miss this sharp director-actress collaboration; in Marion’s words, “a good motion picture, according to Mr. Vidor, should not be an imitation of the stage, which is inevitably an interpretation of life. It should be, on the contrary, a copy of life, and the director a sort of reporter who transcribes on celluloid…”

Dir. King Vidor, 1928, 35mm, 78 min.

Watch the Cinefamily original trailer!

Love Sounds

2/13 - 3PM
$10/free for members

Co-presented by Veggie Cloud & Penny-Ante Editions

We will be passing out complimentary Valentine’s Day treats at this show: champagne & chocolate-covered strawberries!

What better time than Valentine’s Day Eve for a tour through the annals of love, at the LA theatrical premiere of Love Sounds! Filmmaker Masha Tupitsyn pieces together les mots d’amour from the films that constitute our understanding of narrative romance, in an affective history of love built by the voices of our truest love here at Cinefamily, film. This “sound poem” cycles through the arc of narrative romance (desire, fights, love, break-ups), with carefully curated selections of audio clips from the most amour-driven of films, much like an aurally-driven version Christian Marclay’s The Clock.

“While much emphasis has been placed on the visual iconography of love, with the exception of music very little attention has been given to love as an aural phenomenon since the tradition and practice of amour courtois. Love Sounds, a 24 hour sound poem and audio-history, dematerializes cinema’s visual legacy and reconstitutes it as an all-tonal history of critical listening.” —Masha Tupitsyn

Cinefamily presents the 4 hour cut of the film.

Dir Masha Tupitsyn, 2015, 245 mins.

Alien Encounters from New Tomorrowland (with UFO researcher Jim Ledwith & director Andrew Thomas in person!)

2/13 - 9PM
$12/free for members

Introduced by researcher and Sonoma Film Festival programmer “UFO Jim” Ledwith, who will also conduct a Q&A with director Andrew Thomas!

In 1995, Disney Television aired a most intriguing television special, in tandem with the launch of a new ride (“ExtraTERRORestrial”) at Disney World, Florida. A lost UFO documentary, hosted by Robert Urich and with an appearance from Disney CEO Michael Eisner, this rarely-seen documentary is notable for its serious treatment of the subject of ufos and alien abductions. Broadcast only once in five cities, without any advance publicity, the film promptly disappeared. Why? Come find out and hear from the director of this fascinatingly anomalous film, Andrew Thomas.

The screening is part of a program that accompanies the multimedia installation “The Eyes Are Always There” at Machine Project gallery in Echo Park. Opening February 5, the show features the work of artists Joe Merrell and Johnny Woods.

Dir. Andrew Thomas, 1995, Digital Presentation, 60 min.

Watch the original trailer!

HANGOVER MATINEES: Valentine's Day Special - The Thin Man

the-thin-man 480x309
2/14 - 1PM
$12/free for members

Join us on the patio at noon for cocktails!
A live set from DJ Mean Mr. Mustard!

Come celebrate drinking and love with your special someone and a Hangover Matinees Valentine’s Day presentation of The Thin Man, W.S. Van Dyke’s screwball adaptation of Dashiell Hamett’s novel, a blend of noir and slapstick, “a drawing room comedy with dead bodies” (Roger Ebert). Featuring the electric rapport of William Powell and Myrna Loy as Nick and Nora Charles (with dialogue penned by real-life couple Albert Hackett and Frances Goodrich), The Thin Man is zany and unpredictable, like a great bender. Nick is brought out of retirement during the holidays to solve an elusive murder mystery, casually playing everyone around him with a beverage in hand, boasting a superhuman ability to imbibe unceasingly. Boasts the iconic Asta (aka Skippy), in one of the best canine performances ever put to celluloid, to boot!

Dir W.S. Van Dyke, 1934, 35mm, 91min

City Lights + The Book of Love!

Book of Love City and Lights 2A
2/14 - 3:30PM
$20/free for members

Join us for a special silent-romantic-comedic double header this Valentine’s day, featuring Charlie Chaplin’s City Lights and Lindsay Benner’s Book of Love performance!

As the sound era dawned, everyone wanted to hear the Tramp speak—everyone, that is, except Chaplin himself. Feeling that words in the Tramp’s mouth would evaporate the universality of the character, Chaplin pushed ahead with City Lights, easily his most focused, shining effort, and a rare silent film produced after the Twenties had closed. The Tramp befriends a blind girl who believes he’s a millionaire, and tries his hand at a variety of odd jobs to pay for her eye operation — meanwhile, a real-life fantastically kooky alcoholic millionaire becomes the Tramp’s new best friend, except for that thing where he tries to get the Tramp arrested every time they sober up. Seriously funny and deeply affecting, especially in a devastating final scene that will leave no audience member unmoved, City Lights is a marvel for being such a tightly-wound, densely-plotted work (even though it was born out of Chaplin’s obsessive on-the-fly scripting while the film was in production), and it feels light as air to boot.

Dir. Charles Chaplin, 1931, 35mm, 87 min.

As much echoing Giuletta Masina’s heartbreakingly doe-eyed Gelsomina in Fellini’s LA STRADA, as the cartoonish ferocity of a modern-day Lucille Ball, awarding-winning juggler and clown Lindsay Benner presents her most acclaimed creation, BOOK OF LOVE. A late-entry into the canon of classic silent vaudeville, this edgy comedic love story played to a series of sold-out audiences at the 2015 Edinburgh Fringe Festival, and an abridged version rang in the New Year with a midnight show at the Magic Castle. This is a rare opportunity to see the full show in Los Angeles.

Love Exposure

2/14 - 7:30PM
$12/free for members

“It’s too bad words like ‘masterpiece’ and ‘epic’ have been so overused by excitable film critics, because Sion Sono’s Love Exposure is an actual epic masterpiece that is going to dominate the filmscape for decades.” – New York Asian Film Festival

“Japan’s eroto-theosophical answer to the allegorical journeys of Alejandro Jodorowsky” — Film Four

Ask yourself this question: when was the last time a movie really mattered to you, and shattered your world? Every so often, a film comes screaming out of the ether that magically reveals a larger truth about this thing we stumble through called life, and the latest cinematic salve is the unforgettable, uncategorizable, unmissable Love Exposure, the behemoth from Sion Sono (Suicide Club, Strange Circus) that gleefully tackles life’s biggest issues: love, death, sex, revenge, religion and up-skirt panty photography. Winner of festival awards across the globe, and breaker of art house attendance records in Japan, Love Exposure has only been seen in the U.S. at a handful of sell-out screenings, with its initially daunting 237 minutes leaving audiences desperate for another installment. Purportedly based on the life of one Sono’s friends, the film tells the epic story of Yu, a teenager who loses his Catholic faith when his mother dies and his bible-thumping priest father demands that the innocent boy confess to sins that he hasn’t committed. As he manufactures sins to keep his father pleased, Yu trains in the ‘art’ of panchira (clandestine panty snapshots!), and all bets are off when he crosses paths with Yoko, the woman of his dreams (his “Virgin Mary”), at a streetfight. As he pursues his heart, Yu finds himself tripped up by apocalyptic religious cults, Catholic guilt and the call of pornography — and must use his love to fight his way out of darkness. The Cinefamily is proud to present one of the top Japanese films of the the last decade!

Dir. Sion Sono, 2008, Digital Presentation, 237 min.

Watch the trailer!

We Are Twisted F*****g Sister! + Q&A w/ Dee Snider!

2/15 - 7:30PM
$15/free for members

Opens at Laemmle Theatres 2/19!

A glitter band legend who turned the 1970s New York bar scene on its head (then got it drunk til it puked), Twisted Sister was a glam performance act who rattled gender norms and teenage hearts alike – and it has much of that to thank for the addition of frontman Dee Snider, here in person presenting We Are Twisted Fucking Sister!

The man/myth/miracle in eight-inch-platforms, Dee Snider – and his lyrics, and his lipstick – has a legacy that spans from Long Island beer joints to the Sunset Strip’s hairsprayed heyday: a bonafide rock ‘n roll icon. To have him here at The Cinefamily, in a city whose name evokes images of spandex and acid wash to anyone who still believes DISCO REALLY SUCKS, is a true gift from the rock gods – so get your burning questions ready for a Q&A!

Not your mama’s rock doc, Twisted Sister! doesn’t simply play catch-up with the members of a scene-shaping glittery staple. Rather, it portrays the earth-rattling scope of changing music in the 70s and 80s – a crucial period in rock history – as one of its most recognizable bands grapples with disco and a heightened drinking age. So if you call yourself a music fan, you’ll come beat your Valentine’s hangover with a little (teased) hair of the dog and reminisce with Dee for a while at the two-shows-ONLY run of We Are Twisted Fucking Sister!

Dir. Andrew Horn, 2014, DCP, 135 min.

We Are Twisted F*****g Sister! (Introduced by Dee Snider!)

2/15 - 10:45PM
$15/free for members

Opens at Laemmle Theatres 2/19!

A glitter band legend who turned the 1970s New York bar scene on its head (then got it drunk til it puked), Twisted Sister was a glam performance act who rattled gender norms and teenage hearts alike – and it has much of that to thank for the addition of frontman Dee Snider, here in person presenting We Are Twisted Fucking Sister!

The man/myth/miracle in eight-inch-platforms, Dee Snider – and his lyrics, and his lipstick – has a legacy that spans from Long Island beer joints to the Sunset Strip’s hairsprayed heyday: a bonafide rock ‘n roll icon. To have him here at The Cinefamily, in a city whose name evokes images of spandex and acid wash to anyone who still believes DISCO REALLY SUCKS, is a true gift from the rock gods.

Not your mama’s rock doc, Twisted Sister! doesn’t simply play catch-up with the members of a scene-shaping glittery staple. Rather, it portrays the earth-rattling scope of changing music in the 70s and 80s – a crucial period in rock history – as one of its most recognizable bands grapples with disco and a heightened drinking age. So if you call yourself a music fan, you’ll come beat your Valentine’s hangover with a little (teased) hair of the dog and reminisce with Dee for a while at the two-shows-ONLY run of We Are Twisted Fucking Sister!

Dir. Andrew Horn, 2014, DCP, 135 min.

Rain the Color of Blue with a Little Red in It (Akounak Tedalat Taha Tazoughai)

Purple Rain_480_309
2/16 - 7:30PM
$12/free for members

Co-presented by Radio Afrique

Followed by a Q&A with director Chris Kirkley and an after party with DJ sets by Radio Afrique and Chris Kirkley

Whoever said rock ‘n roll was dead will find a foe in modern day-Lomax Christopher Kirkley’s (fictional, but not untrue) Purple Rain-colored portrayal of Mdou Moctar, Nigerien vassal of left-handed psych blues. Famous in North Africa for his scintillating, rebellious guitar style—recordings of which traveled in stealth on teenagers’ cellphones—Moctar profiles a rock-mystic version of himself in Rain the Color of Blue With a Little Red in It, the first ever Tuareg-language film (it has no word for “purple”).

Shot in eight days and using only local musicians, actors and youth who often rewrote or improvised the script to better represent their lives, the narrative bypasses the novelty factor of being a Tuareg Purple Rain and instead tributes Prince’s cult film while matching it with the Saharan answer: a mysterious tagelmust head garment in place of The Kid’s expressive scarves; a pious, guitar-despising Muslim father in place of Purple Rain‘s abusive patriarch; yet still, the crucial motorcycle, the race to get the girl, the ego-driven rock rivalries, and the miraculous return of the hero.

An absorbing, beautifully shot homage to music itself that sends a toast each to Italian neo-realism and The Harder They Come, Rain the Color of Blue is the rock ‘n roll event to be hip on in 2016.

Dir. Christopher Kirkley, 2015, DCP, 75 min.

Watch the trailer!

Show & Tell with Eddie Pepitone

2/17 - 7:30PM
$14/free for members

Cinefamily Show & Tell invites artists, filmmakers, musicians, and other cultural heroes to divulge their deepest, darkest media obsessions by opening their closets, digging through their attics and plundering their garages to curate an evening of… whatever they want to share! For this edition, we’ve invited Eddie Pepitone, staple of the Los Angeles comedy scene—known for regular appearances on the WTF Marc Maron podcast, Late Night with Conan O’Brien and Conan (often appearing as the “New York City Heckler”) and much more—to take us on a tour of his career and the audio, video, and other ephemera that has inspired him.

The Summer of Sangaile

2/17 - 10:30PM
$12/free for members

With DJ Vickki and DJ Shmal!

The Lithuanian answer to Blue is the Warmest Color—this time void of the male gaze—The Summer of Sangaile presents a dreamy lakeside love story between two young girls who tumble together through a brief but tender summertime season. Auste, a local unafraid to immerse herself in the riches of life’s pleasures, meets and falls for the reserved Sangaile, who harbors a not-so-subtly symbolic interest in aerobatic stunt planes. With a serene landscape that could get top billing as a lead character and cinematography that lingers on sunsoaked kneecaps and collar bones, second-time director Alanté Kavaïté has created a gorgeous film rife with Sapphic bliss. Driven by the female gaze of its maker, The Summer of Sangaile is sumptuous and seductive, bolstered by an affecting story of self-discovery beneath its gossamer surface.

Dir Alanté Kavaïté, 2015, DCP, 88 min.

An Evening w/ John Sayles + Return of the Secaucus Seven

2/18 - 7:30PM
$15/free for members

35mm Restored Print Courtesy of the UCLA Film & Television Archive.

To kick off our epic weekend with legendary filmmaker John Sayles, join us for a conversation with man himself! Then we’ll all begin the weekend’s marathon with Return of the Secaucus Seven!

Hollywood exploded into the Full-Throttle Blockbuster 1980s just as Sayles’s Return of the Secaucus Seven blazed another trail, a trail of “small” films about intimacy and friendship, a path filled with wry humor, sly jokes, old friends banging on the living room rug, and lots of talking. Sayles’s first film turns a gathering of former radicals, reunited ten years after their glory days, into a discourse of life lived, failures and successes, relationship issues and personal anxieties—and most of all, humor. The free-flowing wit and naturalistic carousing, the chatter of the everyday—that many directors later emulated—would become the identifier of true independent filmmaking. Return of the Secaucus Seven is fundamental, American-with-a-capital-A, Independent Cinema. Maybe the very beginning of it.

Dir John Sayles, 1979, 35mm, 104 min.

Watch the Cinefamily original trailer!

Brother From Another Planet + Piranha (w/ John Sayles in person!)

2/19 - 7:30PM
$15/free for members

Brother From Another Planet
35mm Restored Print Courtesy of the UCLA Film & Television Archive.
Written, directed, and edited by John Sayles (who actually wrote an early draft of E.T. The Extra Terrestrial, an unlikely companion piece to the film) and starring Joe Morton (City of Hope, Lonestar) Brother From Another Planet is mash-up of fish-out-of-water humor and salient commentary on the black experience in 1980s Harlem. The film follows “The Brother,” an alien who blends in with the residence of his adopted home—except for his feet and inability to speak. Through his perspective, we see the absurdity of earth’s social dynamics and how “white folks get stranger all the time.” With special jury recognition and a nomination for the grand jury prize at the 1985 USA Film Festival (aka Sundance), The Brother From Another Planet is a fresh and original science fiction movie with cameos by soon-to-be Sayles regular David Strathairn (Eight Men Out, Matewan) and the director himself, as the white aliens in pursuit—“the men in black.” An absolute staple of black cinema, Sayles’ Brother remains a relevant, deft blend of wit, slapstick, and racial politics in 1980s America.

Dir John Sayles, 1984, 35mm, 108 min.

In the bloody, movie biz-altering, blockbuster wake of Jaws, an ocean of cheapo sea-creature features rushed in to chomp out their share of the ferocious fishploitation market. The very best of these was Corman’s 1978 jam Piranha, directed by up-and-comer Joe Dante (The Howling, Gremlins, The ‘Burbs), and written by master scribe Sayles, who balanced an “indie darling” filmmaking career with Corman flicks like Alligator and Battle Beyond the Stars. Starring Keenan Wynn, Kevin McCarthy, Barbara Steele and Dante stalwart Dick Miller, the plot finds weaponized piranha bred by the military set loose on a resort water park, resulting in some major teeth-chomping bloodshed. Dante’s love of 50′s sci-fi/horror and playful sense of mayhem make the film a rare delight — a knockoff that’s just as fun as the original, with fledgling SFX guru Rob Bottin’s puppet fish as a wonder to behold.

Dir Joe Dante, 1978, 35mm, 94 min.

Watch the trailer for Brother From Another Planet!

Watch the Cinefamily original trailer for Piranha!

Master Class w/ John Sayles + City of Hope

2/20 - 2PM
$25 General Admission, $55 VIP

General Admission Tickets include entry to the Master Class & film, VIP tickets include reserved couch seating and entry to a private reception with John Sayles prior to the program, at 1:15pm

John Sayles—the Godfather of Bootstrap Cinema, the original DIY filmmaker—was at the forefront of the modern independent cinema movement, when in 1979 with only $40,000 he made Return of the Secaucus Seven. A screenwriter, director, actor, editor, and producer, Sayles does it all—even a few soundtracks. If he is not making a film, then he is writing novels. If he is not writing novels, then he is writing short stories.

John has stories to tell. In this Master Class presented in partnership with the Writers Guild Foundation, he will share some of those stories and will inspire you to get out there and share your own. After the discussion, we invite you to stay for a screening of John’s digitally remastered classic City of Hope.

The Writers Guild Foundation promotes and preserves the craft, history, and voices of screen storytelling. Join us and your favorite screenwriters at this year’s WGFestival 2016, where you can learn the art, craft, and business of screenwriting. For information about the WGFestival, click here.

City of Hope
City of Hope has been restored by Sony Pictures Entertainment in conjunction with the Sundance Institute Collection at the UCLA Film & Television Archive.
Welcome to John Sayles’ America. In this sprawling, kaleidoscopic view of an American city, City of Hope interweaves multiple narratives to examine political corruption, institutional failure, urban development, police brutality, and the ever-widening racial and economic divide of its inhabitants. Roger Ebert compared the film to Slacker, pointing out the shared affinity for weaving characters and places together, an observant camera straying across different conversations within the same scene, making us the eavesdropper on the urban landscape. The city, then, becomes the connecting tissue; it’s a living, breathing thing; it pulsates and it consumes. It’s about people’s complaisance to the institutions they serve. Yet, this is also a film about the individual. While initially dismissed by some critics as hopeless, Sayles has since noted that “the movie is pessimistic, but it’s not cynical.” This is an angry film that asks hard questions without providing easy answers; a film about compassion, hope and the small possibility of reform that exists within a rigged system.

Dir John Sayles, 1991, DCP, 129 min.

Watch the Cinefamily original trailer!

Lianna + Baby It's You (with John Sayles in person!)

2/20 - 7PM
$15/free for members

Double feature!!

35mm Restored Print Courtesy of the UCLA Film & Television Archive.
All of the struggles in Sayles’ films are familiar, human, yet also unique to the time, place, and position a character finds themselves in. Lianna find herself in quite a difficult time, struggling with her out-of-place sexuality in the midst of a society that isn’t ready to fully accept her. The controlled downfall of Lianna’s marriage shows the subtle writing touch that Sayles made a career of. Here, heady intellectual conversations counterbalance the sensuality of discovered feeling. Liana is the pioneering dissection of LGBT issues it seems at first glance, but it’s also a carefully measured portrait of a person, deftly drawn.

Dir John Sayles, 1983, 35mm, 110 min.

Baby It’s You
John Sayles just can’t help himself. Even in the proto-typical story of good-girl-dates-bad-boy, Sayles finds brilliant ways to foreground class in the narrative. When a Sinatra-loving delinquent (Vincent Spano) falls for Jill Rosen, an upper-middle-class girl (beautifully rendered by Rosanna Arquette), there are certain paths that can’t be escaped. He’s gonna sleep around, she’s gonna go to a good college, this is just who they are. Sayles beautifully weaves a classic tale of unimpeachable difference, turning each scene back on the last, right through the finale, never losing sight of the everyday effects of social status. Imparting unexpected depth to a familiar story, his unique voice as a visual stylist and as a writer loses none of its luster in his first studio-funded effort.

Dir John Sayles, 1983, 35mm, 105 min.

Watch the Cinefamily original trailer!

HANGOVER MATINEES: Hollywood Gothic - Sunset Boulevard

gloria swanson & william holden 1950 - sunset boulevard
2/21 - 2PM
$12/free for members

Join us on the patio at 1pm for cocktails!
Live Set from DJ Mean Mr. Mustard!

Sunset Boulevard, a savage satire of Hollywood’s dream machine, is as revered today as it was despised by Hollywood bigwigs upon its release. Positively hemorrhaging the desperation and decaying glamor that permeates Hollywood’s underbelly and populated by a world of wannabes and has-beens, Sunset Boulevard is the definitive Hollywood Gothic. Featuring noir-ish plot points and ghoulish humor, the film’s rightly famous centerpiece is the exquisitely outsized and iconic performance of Gloria Swanson as delusional harpy Norma Desmond, a former silent star hell-bent on reclaiming her celluloid throne. Erich Von Stroheim is wittily cast as her Prussian butler, and a young William Holden co-stars as her plaything/whipping boy, a struggling screenwriter who can do nothing but wait for his uproarious fate. It’s Desmond’s home, though, that says it all, a rotting mansion of aging dreams with death at the door—a perfect staging ground for her mothballed flagellating delusions.

Dir. Billy Wilder, 1950, 35mm, 110 min.


2/22 - 7:30PM
$12/free for members

Greg Proops (one of the most mind-warpingly quick-draw improv comics on earth) records the latest episode of his monthly Film Club podcast live — and then it’s time for Sideways. Greg sez: Andrew Payne’s sparkling, hysterical, buddy movie/road comedy/relationship screwball. A fading actor/scoundrel Jack (Thomas Haden-Church) and an obscure writer, mini-weasel Miles, (Paul Giamatti) were best friends in college and deeply have nothing in common. They decide to go to the not-even-Napa Wine Country for Jack’s big bachelor weekend before he gets married. The plan is some drinks, golf, and male-bonding. Jack is surprisingly reckless so the plan implodes when they run into Maya (Virginia Madsen) and Stephanie (Sandra Oh), and the madness begins. Lies, deception, an insanely long novel, kinky and naked married men chasing cars, desperation, drinking, failure, an intolerably happy ex-wife, parking lot beat-downs, stealing from Mom’s purse—this movie crams it all in one weekend, with loads of candid slapstick for the discerning viewer. You will never order Merlot again.

Dir. Alexander Payne, 2004, 35mm, 126 min.

WorkJuice Presents: The Worst Idea of All Time Live

2/23 - 9PM
$20/free for members

New Zealand’s stupidest and greatest comedians Guy Montgomery and Tim Batt watched the same terrible movie every week for a year, and podcasted the results. At week 50, in the depths of the insanity they brought upon themselves, Guy and Tim attempted to write the script to that movie from memory. Come see what they wrote in a one-time only live reading of the script nobody asked for from the movie nobody watched (Grown Ups 2)!

STARRING: Tim Batt, Guy Montgomery, the WorkJuice Players from The Thrilling Adventure Hour, and very special guests

ANIMATION BREAKDOWN: Locura Espanola - Spanish Contemporary Animated Shorts

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2/25 - 10:15PM
$12/free for members

This month ANIMATION BREAKDOWN has brought in an exiled, delusional Spaniard (former Spanish animation fest Animac curator Francesc Xavier de Manuel Ruiz) to program an insane selection of… Spanish. Contemporary. Animated. Shorts. ¡Olé! A bilingual compendium of animated “tapas” packed with spine-chilling fables, heart-warming violence, and a pinch of synesthetic experimentalism. Want some samples? Rejoice before the cutesy bear cubs of Alberto Vazquez in their hunt for unicorn blood! Discover the doomed CGI chimeras of Guillermo Garcia Carsí, the creator of Pocoyo! Witness a trio of cyber-tech apes in their battle against an unscrupulous, fascist dictator! Experience a millennia of messed-up history from the point-of-view of a stranded robo-alien! Locura Española is an aphrodisiacal experience straight from the land of Spanish madmen!


Viaje a Pies by Khris Cembe
The Day I Killed My Best Friend by Antonio J. Busto
The Vein / Magma by DVEIN
Amor de Mono by Trimono
Astigmatismo by Nicolai Troshinsky
Sangre de Unicornio by Alberto Vázquez
Doraemon at the 2020 Neo-Tokyo Olympic Games by Aleix Pitarch
Doomed by Guillermo García Carsí
Jamón by Iria Lopez
Bendito Machine V – Pull the Trigger by Jossie Malis
Manolito’s Dream by Txesco Montalt

And more! All films are DCP.

Krisha (Sneak Peek w/ Dir. Trey Edward Shults, Krisha & Robyn Fairchild in person!)

2/26 - 8PM
Free (first-come, first-served)

Trey Edward Schults’ debut feature took SXSW by storm last year, winning the Grand Jury Prize and the Audience Award, as well as a spot on the Cinefamily favorites list. The intense and tight narrative unfolds over a Thanksgiving gathering, rife with familial tension that feels so real, because it is, well, real; Schults cast his own family members in this deeply personal film. With hints of Cassavetes—and A Woman Under the Influence levels of commitment to dramatic performances—Krisha is a masterful debut.

Dir. Trey Edward Shults, 2015, DCP, 83 min.

NOTE: To help us track attendance, you must pre-register for “first-come, first-serve” admission. Your registration does not guarantee you a seat.

Also, as Cinefamily is a non-profit, all of our donating 1-year “Black Card” members get priority entry to our free shows. Donating for a Cinefamily membership is the perfect way to both support the theater, and to gain access to the early-entry line.

FRIDAY NIGHT FRIGHTS: The Serpent and the Rainbow

2/26 - MIDNITE
$12/free for members

Co-presented by Scream Factory

One of Wes Craven’s more underrated horrors, 1988′s The Serpent and the Rainbow is a classy supernatural thriller, more comfortable in the company of The Exorcist than A Nightmare on Elm Street, Scream, or Last House On the Left. The story of a doctor (the always dependable Bill Pullman) who travels to Haiti to create an anesthetic from a voodoo drug, The Serpent and the Rainbow favors tension and atmosphere over guts and grue, but that doesn’t make it any less terrifying a ride. Featuring one of the most harrowing live burials ever committed to film, Craven’s assured directing and a tight script make this one of the best movies about voodoo zombies to date. Help us bang the drum and wake the dead in appreciation of this top-shelf chiller from a recently passed master.

Dir. Wes Craven, 1988, 35mm, 98 min.

Watch the trailer!

HANGOVER MATINEES: Hollywood Gothic - The Bad and the Beautiful

2/28 - 1PM
$12/free for members

Join us on the patio at Noon for cocktails!
Live Set from DJ Mean Mr. Mustard!

Description coming soon…

Dir. Vincente Minnelli, 1952, 35mm, 118 min.

Doug Benson Watches the Oscars + Pot Luck!

2/28 - 3:30PM
Free (first-come, first-served)

Before the show, we’ll be taping a new episode of the “Dining With Doug And Karen” podcast — hosted by Doug Benson and Karen Anderson. This event is indeed a potluck; things like bags of chips and drinks are not encouraged — please bring a dish, and impress Doug & Karen with your culinary chops as they sample everyone’s creations live on the podcast.

Doug will also be live-Tweeting throughout the show; follow him on Twitter!


“DA SHOW”: 05:00PM – 09:00pm (approximate)

NOTE: To help us track attendance, you must pre-register for “first-come, first-serve” admission. Your registration does not guarantee you a seat.

Also, as Cinefamily is a non-profit, all of our donating 1-year “Black Card” members get priority entry to our free shows. Donating for a Cinefamily membership is the perfect way to both support the theater, and to gain access to the early-entry line.


2/29 - 7:30PM
$14/free for members

The next installment of Doug Benson’s Movie Interruption, where Doug and his friends (who, in the past, have included everyone from Jon Hamm to Sarah Silverman and Zach Galifianakis) chill on the front row couches, mics in hand, and say whatever hilarious thing pops into their heads while a movie of their choosing unfolds on the screen.

Dir. Anand Tucker, 2010, DCP, 100 min.

HANGOVER MATINEES: Hollywood Gothic - In A Lonely Place

3/6 - 2PM
$12/free for members

Join us on the patio at 1pm for cocktails!
Live Set from DJ Mean Mr. Mustard!

“Nobody comes out of this one unscathed, nobody looks good in the end, thereby making it a perfect noir.” —Barry Gifford, Adventures in Film Noir

No Hollywood Gothic series would be complete without a noir entry—and In a Lonely Place is one of the best. When Humphrey Bogart’s contract at Warner Brothers expired, the first film he made with his own production company was this shadowy classic where Hollywood was not just a dark place, but an ugly one. Bogie plays a bitter, alcoholic screenwriter with a serious temper problem suffering from creative exhaustion, stuck doing assignments he hates for people he doesn’t respect. When a hatcheck girl he knows shows up murdered, he’s the prime suspect—and even he isn’t sure whether he did it or not. Wannabe actress Gloria Graham puts up his alibi, but the downward spiral starts to become too much for the burgeoning romance. Graham’s ongoing divorce with director Nicholas Ray permeates the film with a extra tension that, together with Ray’s own tumultuous relationship with Hollywood, make this a potent and wicked thriller that would send any has-been writer back to his cottage to lick his wounds.

Dir. Nicholas Ray, 1950, 35mm, 94 min.


3/12 - 2PM
$12/free for members

Description coming soon…

Dir Clarence Brown, 1925, 35mm, 80 min.

HANGOVER MATINEES: Hollywood Gothic - The Big Knife

3/13 - 2PM
$12/free for members

Join us on the patio at 1pm for cocktails!
Live Set from DJ Mean Mr. Mustard!

“For many years now, capitalism at its extreme, and Hollywood in particular, has been as ghastly and murderous as anything Shakespeare and Webster wrote.”— Clifford Odets

Clifford Odets’ fall from Golden Boy of the leftist New York theatre scene to an underutilized studio contract writer (his last screen credit was for an Elvis movie) is one of the classic stories of squandered Hollywood talent. The Big Knife was his return to the stage, and a fantastic excoriation of the Hollywood rot and corruption. It’s the story of a failing actor stuck making wrestling movies, who just wants to retire in peace, but… they keep pulling him back in. Adapted for the screen by director Robert Aldrich, The Big Knife features some of Odets’ best trademark poetic dialogue this side of Sweet Smell of Success, and an unforgettable, overheated performance by Rod Steiger (in a hilarious parody of Columbia head Harry Cohn, known to manipulatively weep crocodile tears in negotiations) as the manipulative blowhard studio head who pulls all his strings. Written with a brilliant poison pen, and directed with a harsh full-frontal style that jabs the points home, there are few Hollywood Gothics as cutting as The Big Knife.

Dir. Robert Aldrich, 1955, 35mm, 111 min.

HANGOVER MATINEES: Hollywood Gothic - Mulholland Dr.

3/20 - 2PM
$12/free for members

Join us on the patio at 1pm for cocktails!
Live Set from DJ Mean Mr. Mustard!

Endlessly quoted and referenced, Mulholland Dr.’s pitch-black, reverent tabulation of the elements that make up LA’s macabre character remains as conspicuous as the Hollywood sign. Beginning as a seedy, comic mystery tautly wound around the burgeoning love affair between guileless starlet Naomi Watts and voluptuous amnesiac Laura Harring, its trajectories get gradually buried under a stockpile of Lynchian components—a coterie of bizarre menacing locals, jarring tonal and narrative shifts, and dreamlike sequences featuring anachronistic facades. Even the director’s surrogate, hilariously played by a hapless Justin Theroux, recalls the best moments of Twin Peaks—here, Lynch’s exacting visions once again perforate the crumbling veneer of the industry’s freakish determination.

Dir. David Lynch, 2001, 35mm, 147 min.

THE SILENT TREATMENT: The Complete Metropolis

4/9 - 1PM
$12/free for members

Description coming soon…

Dir. Fritz Lang, 1927, DCP Restoration, 149 min.

Watch the trailer!

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