Special Events - April 2017

I Love Dick: The Complete Series (with Jill Soloway, Kathryn Hahn & Chris Kraus in person)

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4/30/2017 - 12PM

Presented by Women of Cinefamily

Join us for a marathon viewing of the new Amazon original series, I Love Dick. Libations and tacos will be served on the patio, Valet available.

EVERY LETTER IS A LOVE LETTER is the potent title of Part 2 of Chris Kraus’ cult 1997 work of autobiographical fiction, I Love Dick. The Chris of the novel addresses her object, Dick – and her readers – with a stream of confessional, raw, effortlessly consumable letters. And now another letter: Jill Soloway (creator of the acclaimed Transparent) and playwright Sarah Gubbins have created an Amazon original series based on Kraus’ book. With Kathryn Hahn as Chris, Griffin Dunne as her bookish husband Sylvère, and Kevin Bacon as the enigmatic Dick, I Love Dick is true to the original in spirit but is relocated to the remote and singular art town of Marfa, Texas. Soloway and Gubbins’ all-female writers room probe Kraus’ original hot-tipped letters – and their rough and exact reflection of what it is to be both a woman and a woman-artist – with smart reference to work by a cadre of feminist and experimental filmmakers including Chantal Akerman, Carolee Schneemann, Naomi Uman and more.

2016, DCP, 205 mins.

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

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.

Super Tight 2 Year Anniversary

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4/29/2017 - 10PM

Rolling admission

Imagine a magical party playground where all the strange, funny, and beautiful elements of art, comedy, magic, and music come to mingle… SUPER TIGHT – a show that gathers the perfect amount of each of these elements into a frosty martini shaker, adds some magic mushrooms, and shakes until sun up – is 2 years old!

Featuring:
Tim Heidecker
Wild Horses
Kate Berlant
Ariel Pink
DJ set by Devendra Banhart
& more TBA!

All proceeds from this show to benefit the ACLU

Subject: Los Angeles in the Streets (off-site at the Bob Baker Marionette Theater)

subject los angeles
4/28/2017 - 8PM

This show will take place at the Bob Baker Marionette Theater, located at 1345 W. 1st St, Los Angeles, CA 90026.

Please join us April 28th for the second installment, Subject: Los Angeles in the Streets – a night that will examine varying forms of public assembly and artistic intervention in a city so often associated with private lives and drive-thru culture. With an eye towards the history of political demonstrations, group euphoria, and roadside art, this event will look at Los Angeles as both a backdrop and breeding ground for impassioned and irreverent activism, as well as creative spectacles that go far beyond the tourist trade. Featuring archival documentation and newsreels, radical shorts by L.A.-based filmmakers, protest songs sung by folk singer Emily Lacy, and of course, puppets, the night re-envisions the city as a site of collective possibility.

Subject: Los Angeles was co-curated by Veggie Cloud’s Courtney Stephens and Kate Wolf, and the UCLA Film and Television Archive’s KJ Relth. Special thanks to the Prelinger Archives, Russell M. Saunders Film Collection, and Mark Quigley of the UCLA Film & Television Archive.

La Vie de Jésus (with Bruno Dumont in person!)

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4/27/2017 - 7:30PM

Presented by Cinefamily Editions and La Collectionneuse.

With his feature film debut, Bruno Dumont announced himself as a visionary whose keen sense of place is rivaled only by a comprehension of the inherent tensions that run through modern humanity. The film that would cement Dumont as a Gen X Bresson, La Vie de Jésus relies on the raw power of the cinematic image (eschewing a musical score almost entirely) to elegantly and brutally depict the listlessness of young adult ennui. Employing unprofessional actors in the rural Northern France of the filmmaker’s youth, this understated work of stark realism lives and breathes in the quiet expressions on the distinct faces of his working class (but unemployed) characters. Contemplative moments are broken up by bouts of violence and carnal sex acts, including a controversial shot of unsimulated penetration – think La Haine (Kassovitz, 1995) without the bleak nihilism. Winner of the Prix Jean Vigo (an award previously bestowed upon L’Enfance Nue (1969) and its helmer Maurice Pialat, one of Dumont’s heroes), La Vie de Jésus is not concerned with its characters vis-a-vis a traditional Christian narrative – in fact, the filmmaker actively dodged discussions of spirituality with the press. Rather, the film provokes us to look beyond religious metaphors and to confront our own fundamental wickedness. Print courtesy of the Institut Francais.

Dir. Bruno Dumont, 1997, 35mm, 96 min.

Bruno Dumont’s new film, Slack Bay, will open on 4/28 at the Laemmle Playhouse 7 and Laemmle Monica Film Center.

Li'l Quinquin (Los Angeles premiere with Bruno Dumont in person!)

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4/26/2017 - 7:30PM

Half shaggy-dog story, half grand guignol, Bruno Dumont’s uproarious 2014 epic Li’l Quinquin immediately claimed a place as one of the great visionary subversions of the miniseries format. Quinquin begins as a masterful parody of enervated serial-killer and coming-of-age tropes, opening with a gang of miscreant children following a police helicopter as it airlifts a cow stuffed with human entrails out of a WWII-era bunker. Over four utterly unpredictable episodes, however, a disturbing moral portrait takes shape behind the burlesques and grotesques: simple country folk turn out to be philanderers and racists, a pastoral seaside village becomes a hell on earth. At the center of the maelstrom is the ruminative and inept Commandant Van Der Weyden (a magnificently idiosyncratic performance by gardener-turned-actor Bernard Pruvost), whose incompetence assumes an almost mystical significance. The grand philosophe among France’s foremost cinematic provocateurs, Dumont ultimately gives us much more than a murder mystery–it’s a comic treatise on the universal law of mischief.

Dir. Bruno Dumont, 2014, DCP, 197 min.

Bruno Dumont’s new film, Slack Bay, will open on 4/28 at the Laemmle Playhouse 7 and Laemmle Monica Film Center

4/20 BUG OUT: Phase IV

phase IV
4/20/2017 - 7:30PM

Saul Bass wasn’t just an artist who contributed to the first several minutes of some of the greatest movies in history — in my opinion his body of work qualifies him as one of the best filmmakers of one of this, or any other time.“ – Steven Spielberg

Seekers of celestial psych cinema need no longer cue up 2001’s “Jupiter and Beyond the Infinite” to unlock their third eye; enter the optically luscious, organically abstract and singular universe of one of the 20th century’s greatest artists. Graphic designer/filmmaker Saul Bass’s only feature-length effort is a triumph of visual storytelling that communicates impending sentient insect peril through unparalleled microphotography, sound & art design, abstract architecture and subtle gestures. Using the touchstone of Kubrick’s monolithic freakout as a cinematic challenge, Bass confidently takes up the mantle of smart and strange sci-fi, making Spaceship Earth feel alien and fantastic. Widely underappreciated and guaranteed to be the most stunning theatrical experience you’ll have this year, Bass’ ultra-imaginative journey is a train you’ll immediately want to board. Plus, alongside the film, Bass’s original mind-shattering eight-minute finale — trimmed from the 1974 theatrical release, and entirely unseen until discovered in the vaults a few years ago — will be presented after the screening. This footage is a cornucopia of some of the most truly nuts, experimental optical-printing trickery you’ll ever see.

Dir. Saul Bass, 1974, DCP, 84 min + 8 min (digital presentation)

Hot Fuzz 10th Anniversary at the Vista w/ Point Break!

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4/20/2017 - 7:30PM

This show will take place at the Vista, located at 4473 Sunset Dr, Los Angeles, CA 90027.

Suspense! Mystery! Intrigue! Bill Nighy! Martin Freeman! British stuff!

From the duo that brought us uproarious zombie-com Shaun of the Dead, Hot Fuzz is Edgar Wright and Simon Pegg’s masterful turn at the cop farce, complete with their trademark irreverence, black wit, and delightfully extra martial arts sequences. Concurrently skewering and homaging both British spy thrillers and those American action blockbusters where everything blows up, Hot Fuzz will have your sides split and your nails bit by act three!

It’s a 2000s comedy staple that is perfect a la carte – but perhaps best enjoyed while, shall we say, elevated – so let’s celebrate Hot Fuzz‘s 10th anniversary with some 4/20 hoopla courtesy of the haziest cinema in LA! Q&A to follow with director Edgar Wright and Timothy Dalton, moderated by Jordan Peele.

Dir. Edgar Wright, 2007, DCP, 116 min.

Then we’ll watch Kathryn Bigelow’s legendary Point Break, on 35mm!

Dir. Kathryn Bigelow, 1991, 35mm, 122 min

National Canadian Film Day (Free w/ RSVP! Denis Villeneuve in person!)

strange brew
4/19/2017 - 2:30PM

Presented in association with National Canadian Film Day 150 and the USC School of Cinematic Arts

Join us for a celebration of Canadian cinema, in honor of Canada’s upcoming sesquicentennial! Poutine and other Canadian foods and libations will be served for our all day marathon, celebrating Canadian filmmakers’ distinctive impact on Hollywood.

Admission is rolling. Line up (times are approximate and subject to change):

2:30pm The Saddest Music in the World
Dir. Guy Maddin, 2003, 35mm, 100 min.

4:30pm Meatballs
Dir. Ivan Reitman, 1979, DCP, 94 min.

6:15pm Reception on patio with poutine bar and Canadian desserts

7:30pm Incendies
Followed by a Q&A with Academy Award nominated director Denis Villeneuve (Arrival) moderated by USC’s Alex Ago!
Dir. Denis Villeneuve, 2010, 35mm, 131 min.

11pm Strange Brew
Dir. Rick Moranis and Dave Thomas, 1983, 35mm, 90 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.

Denis Villeneuve’s Polytechnique (Free w/ RSVP)

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4/18/2017 - 7:30PM

Presented in association with National Canadian Film Day 150 and the USC School of Cinematic Arts

On the eve of National Canadian Film Day 150, join us for a screening of Oscar-nominated director Denis Villeneuve’s 2009 film, Polytechnique!

“The black-and-white Polytechnique is inspired by a real atrocity close to home: the December 6, 1989, massacre at a prestigious engineering college in Montreal. As Gus Van Sant did in Elephant, Villeneuve, co-writing with Jacques Davidts and Éric Leca, offers no explanation for the shooting rampage” (Melissa Anderson), instead constructing a precise, honest, historical record.

Dir. Denis Villeneuve, 2009, 77 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.

Get High Watch Wrestling with Ron Funches & X-Pac

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4/15/2017 - 9:30PM

Comedian Ron Funches and pro wrestling icon Sean “X-Pac” Waltman get high, watch and make fun of classic and modern wrestling matches with a group of famous friends. Join us!!!!

Subject: Los Angeles (off-site at the Bob Baker Marionette theater)

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4/14/2017 - 8PM

This show will take place at the Bob Baker Marionette Theater, located at 1345 W. 1st St, Los Angeles, CA 90026.

Subject: Los Angeles as Eden is an evening that considers the persistent image of Southern California as an earthly paradise through archival film, commentary, slides, and marionette performances. From advertisements that marketed young Pasadena as the city where roses grew year round, to actual Utopian experiments, Los Angeles has been imagined as a temperate and florid promised land — despite its arch-opposite reputation as hell on earth. Highlights include early color nitrate footage of Hollywood’s storybook restaurants, an advertorial film urging Easterners to move to Santa Monica, home movies from Muscle Beach, and an exploration of Grandma Prisbrey’s beatific Bottle Village, punctuated by magical marionette performances.

Subject: Los Angeles was co-curated by Veggie Cloud’s Courtney Stephens and Kate Wolf, and the UCLA Film and Television Archive’s KJ Relth. Special thanks to the Prelinger Archives, Russell M. Saunders Film Collection, and Mark Quigley of the UCLA Film & Television Archive.

Free Fire (Free sneak peek w/ Ben Wheatley in person!)

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4/12/2017 - 11PM

Ben Wheatley has made a half-dozen features and no compromises. It’s a feat worth acknowledging, as the British sensation continues to make the films he wants to make. Sometimes his singular creations take the shape of a sardonic love story (Sightseers), other times a black and white, 17th-century horror bloodbath (A Field in England). Wheatley’s latest finds the quick-witted, foul-mouth auteur just having a damn good time. A cinematic rejoinder to his sumptuous adaptation of J.G. Ballard’s High-Rise, Free Fire is a rollicking retro thriller set in a barren Boston warehouse. It contains a varied cast of characters (from Brie Larson to Armie Hammer to Cillian Murphy), none of whom trust one another to broker a prospective gun deal. But the movie is too fun to focus on plot. Duplicity is the name of the game – think a retrofitted Reservoir Dogs with performers you’re used to seeing in big-budget studio pictures. An old-school bullet ballet for modern times.

Dir. Ben Wheatley, 2016, DCP, 90 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.

Pink Floyd: The Wall (encore!)

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4/9/2017 - 10PM

Holy shit, ‘Floyd fans – if you’ve never seen Pink Floyd: The Wall, now’s the time to take the pill; as the film is more than a video album, more than a rock operetta, more than the sticky makeout party known as Laser Floyd at the Science Center. Director Alan Parker takes classic-rock-giant Pink Floyd’s eleventh (and most contentious) studio album and adds dimension after visual dimension to its iconic composition, slowly revealing the plummeting and heartbreaking internal depths of The Wall’s unexplored stories.

Following young Pink through a childhood of turmoil and hostility, The Wall is a visually rich yet morally devoid bildungsroman of mounting anxiety, as Pink struggles for connection and expression in an uncaring, violent world. Written by Roger Waters, based on the life of rock ‘n roll’s arguable persephone Syd Barrett, and rife with psychedelia, the film hypnotizes us deeply into the psychological sub-terrains of a soul’s disconnection from society – in only the way Waters can be our Virgil. With animation by Gerald Scarfe that brings an interplanar breadth to this sludgy, woeful musical epic of postwar algos, Waters has crafted a crucial forewarning – perhaps now more relevant than ever – of the psychosis of a human kept behind a wall.

Dir. Alan Parker, 1983, 35mm, 95 min.

Adalen 31 (encore!)

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4/9/2017 - 4PM

Co-presented by the French Film and TV Office

Bo Widerberg’s Adalen 31 is a seminal work by one of Sweden’s most seminal filmmakers. Winner of a Special Jury prize at Cannes in 1969, it is a gorgeous ode to the workers who striked, struggled, in some cases died in the 1931 Adalen Riots – a historical confrontation between the military and labour demonstrators that ended in tragedy, but paved the way for worker’s rights in the following century. Widerberg is sometimes called the anti-Bergman, because he is more concerned with man’s relationship with his fellow man, than his relationship with God. Serious as the subject is, Widerberg finds charm and humanity in the day to day lives of his town of sawmill workers, who must while away the weeks, hungry and out of work, waiting for a new era to come. By finding a light touch – with cinematic grace galore – Widerberg transmits the emotional power of their struggle with strength. Shown in 35mm, with an imported print from the Swedish Film Institute.

Dir. Bo Widerberg, 1969, 35mm, 110 min.

The Black Power Mixtape 1967-1975 (encore!)

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4/6/2017 - 7:30PM

In the late 60s and early 70s, the world watched the Black Power movement take hold of America. Among the many magnetized by the drama were a group of Swedish journalists. Fast forward to 2007: documentary filmmaker Göran Olsson found a treasure trove of beautiful, important 16mm footage shot by the journalists, languishing in the basement of Swedish Television.

Featuring intimate footage of Stokely Carmichael, Angela Davis (including a now iconic interview with her in a California jail), Eldridge Cleaver and many more, the Black Power Mixtape documents an indelible moment in our nation’s history – from the unique perspective of some non-Americans. Olsson and co-producer Danny Glover reimagined the footage with the help of music by Questlove and Om’Mas Keith, along with commentary from prominent activists and artists, including Erykah Badu, Harry Belafonte, Talib Kweli, and Melvin Van Peebles.

Dir. Göran Olsson, 2011, 35mm, 100 min.

Who's Crazy?

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4/2/2017 - 4PM

Jazz 45s set by Adam Hayden aka Mean Mr. Mustard

It doesn’t get more underground than this 1966 feature-length free-jazz freakout, which stars members of the legendary avant-garde Living Theatre group and features an ecstatic score by the late, great Ornette Coleman. Whispered about for decades, Who’s Crazy? finally re-emerged last year thanks to the dedicated sleuthing of an Ornette obsessive, who tracked the sole print in the director’s shed. Making its West Coast debut after 50 years – and not a second too late – the mostly-improvised film offers a heavy dose of mid-60s collective psychosis, unleashing a busload of lunatic hepcats on a sleepy Belgian countryside for a sustained bout of unstructured merrymaking. As their neo-dadaist hijinks escalate to the fever pitch of pagan ritual, Coleman matches their frenzy, laying down an emancipatory racket on saxophone, trumpet and violin. Like the best work of Warhol, Jack Smith or the Kuchars, it’s as much a happening as a film, with filmmaker Thomas White (al)chemically summoning spontaneous lunacy from his inspired collaborators.

Dir. Thomas White, 1966, DCP, 73 min.

Watch the trailer!

Who's Crazy?

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4/1/2017 - 3:30PM

It doesn’t get more underground than this 1966 feature-length free-jazz freakout, which stars members of the legendary avant-garde Living Theatre group and features an ecstatic score by the late, great Ornette Coleman. Whispered about for decades, Who’s Crazy? finally re-emerged last year thanks to the dedicated sleuthing of an Ornette obsessive, who tracked the sole print in the director’s shed. Making its West Coast debut after 50 years – and not a second too late – the mostly-improvised film offers a heavy dose of mid-60s collective psychosis, unleashing a busload of lunatic hepcats on a sleepy Belgian countryside for a sustained bout of unstructured merrymaking. As their neo-dadaist hijinks escalate to the fever pitch of pagan ritual, Coleman matches their frenzy, laying down an emancipatory racket on saxophone, trumpet and violin. Like the best work of Warhol, Jack Smith or the Kuchars, it’s as much a happening as a film, with filmmaker Thomas White (al)chemically summoning spontaneous lunacy from his inspired collaborators.

Dir. Thomas White, 1966, DCP, 73 min.

Watch the trailer!

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