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German Oscar Submission LABYRINTH OF LIES Opens September 30th at the Royal, October 9th at the Playhouse and Town Center

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The gripping historical drama LABYRINTH OF LIES [Im Labyrinth des Schweigens], Germany’s official submission for the 2016 Best Foreign Language Film Oscar, opens in Frankfurt in 1958. Nobody wants to look back to the time of the Hitler’s National Socialist regime. Young public prosecutor Johann Radmann comes across some documents that help initiate a trial against some members of the SS who served in Auschwitz. But both the horrors of the past and others’ hostility towards his work bring Johann close to a meltdown. It is nearly impossible for him to find his way through this maze; everybody seems to have been involved or guilty.

LABYRINTH OF LIES director/co-screenwriter Giulio Ricciarelli said this about his film: “I wanted to tell a story about personal courage, of fighting for what is right and taking a stand. And it is a story of redemption. In Frankfurt in 1963 Germans put Germans on trial for their crimes in the Holocaust. Eighteen years after the war, it was the first time ever Germany really confronted it’s past, and it was a turning point in our history of immense importance.

“In this age of globalization and inter-connectedness, this story reminds us that it is always individuals who bring about change and it is individuals who push forward civilization.

“The film begins in Germany in 1958. An atmosphere of frantic optimism and denial, a country rebuilding itself, only looking forward. Yet the shadow of its war crimes is catching up, literally around the corner. It will be a momentous task- can our heroes force a whole country to look at what it has done, to acknowledge its past?”

https://www.youtube.com/watch?t=2&v=U5ovcBGMLEs

Culture Vulture Mondays, Laemmle Theatres’ Panoply of High Art in Cinema: Venue Changes + Fourth Quarter Lineup

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We’re celebrating the first anniversary of CULTURE VULTURE with a slew of stellar offerings that will take us into the new year.

For the uninitiated, CULTURE VULTURE is our weekly series of opera, stage and ballet/dance performances plus art exhibitions and documentaries.

These are often live performances that have been recorded – and they are typically breathtaking! If you are a lover of the high arts and have yet to experience Culture Vulture, you owe it to yourself to attend one of our upcoming programs.

Screenings take place Monday nights with repeat performances Tuesday afternoons.

Please note that we’ve shuffled the deck a bit with regard to venues. Culture Vulture will be continuing at the Playhouse, Claremont, and Town Center. In addition, it will be offered at the newly re-opened FINE ARTS in Beverly Hills. It will no longer run at the Royal, Music Hall, or NoHo.

There’s more! We’ve developed a new scheduling model that will make it easier for you to plan in advance. Each month will be calendared as follows:

1st Monday – Opera
2nd Monday – Ballet/Dance
3rd Monday – Stage
4th Monday – Art Exhibits/Documentaries
The 5th Monday (when it occurs) will be a surprise!

September 21 and 22: PAUL TAYLOR: CREATIVE DOMAIN (dance documentary)

September 28 and 29: THE IMPRESSIONISTS (exhibition)

October 5 and 6: AIDA (opera from Teatro alla Scalla)

October 12 and 13: L’HISTOIRE DE MANON (ballet from the Opera Nacional de Paris)

October 19 and 20: THEODORE BIKEL: IN THE SHOES OF SHOLOM ALEICHEM (stage production via the National Center for Jewish Film)

October 26 and 27: VINCENT VAN GOGH: A NEW WAY OF SEEING (exhibition)

November 2 and 3: RISE AND FALL OF THE CITY OF MAHAGONNY (opera from the Royal Opera House)

November 9 and 10: MOVIMENTOS: LA DANZA DE LA PUNTA AL TACON (dance from the Teatro Real, Madrid)

November 16 and 15: MAN AND SUPERMAN (stage production from the National Theatre, London)

November 23 and 24: PALIO

November 30 and December 1: THE THREE TENORS CHRISTMAS CONCERT (Wiener Konzerthaus)

December 7 and 8: THE MAGIC FLUTE (opera from Bregenzer Festspiele)

December 14 and 15: THE NUTCRACKER (ballet from the Bolshoi)

December 21 and 22: HAMLET (stage from the National Theatre)

Benedict Cumberbatch as Hamlet.
Benedict Cumberbatch as Hamlet.

Zhang Yimou on His Potent New Historical Romance COMING HOME: “This type of film is very difficult to make. It needs to be made in a state of serenity.”

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Zhang Yimou’s new film is set in the last days of China’s Cultural Revolution, following a newly-released political prisoner (Chen Daoming) as he tries to reconnect with his wife (frequent Yimou collaborator Gong Li), who is stricken with amnesia. We open the movie 9/9 at the Royal, 9/18 at the Playhouse and 10/2 at the Town Center. The director wrote this about his powerful new work: “Based on Yan Geling’s novel The Criminal Lu Yanshi, COMING HOME is a love story about joy and sadness, as well as separation and reunion. We used the end of the original story – with Lu Yanshi returning home – as the starting point of the script. Everyone knows that Chen Daoming and Gong Li are the finest actors working in China, and they were my first and only choices for their respective roles. I’ve learned a lot from working with them. They offered a lot of constructive opinions about even the smallest details in the story. That’s why their contribution to the film extends far beyond the portrayal of the characters.

“Having a so-called “rising star” in the daughter’s role was not a must as her character serves a very important function in the story. When I first met [Zhang] Huiwen, I noticed her bright shining eyes, which resembled the aura of young Red Guards. It was what I needed. For the second part of the film, I needed to change the way her eyes look. They should look as if they are in a trance, always hesitant. Huiwen had the ability to do that.

“This type of film is very difficult to make. It needs to be made in a state of serenity. If I thought about benefits and profits even a little, then I would lose my way. That’s why, for me, this film represents a return to an earlier state of mind and an older approach to creativity. The most important thing for me is whether the audience will keep this film in their hearts and whether they will truly remember the emotions behind COMING HOME.”

https://www.youtube.com/watch?v=Hoea7Cz3Hj0

One of the most important and influential filmmakers in China, and a core member of China’s “Fifth Generation” directors, Zhang Yimou started his career as a cinematographer and became a director in 1987. Over the years, Zhang has directed films which received accolades from around the world: RED SORGHUM (1987, Golden Bear winner at the Berlin International Film Festival), JU DOU (1990, In Competition at the Cannes Film Festival and nominated for Best Foreign Language Film at the Academy Awards®), RAISE THE RED LANTERN (1991, Silver Lion winner at the Venice International Film Festival and nominated for Best Foreign Language Film at the Academy Awards®), TO LIVE (1994, Grand Jury Prize at the Cannes Film Festival), to name a few.

In 2002, his martial arts epic HERO ushered in a new era of blockbusters for Chinese cinema, and was followed by the equally successful HOUSE OF FLYING DAGGERS (2004), and CURSE OF THE GOLDEN FLOWER (2006)

Special screenings of ATTACK ON TITAN PART ONE and TWO in Claremont, NoHo, and Pasadena!

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We’re pleased to announce that ATTACK ON TITAN THE MOVIE PART ONE and TWO will screen at our theaters in Claremont, NoHo, and Pasadena!

The ATTACK ON TITAN (“Shingeki no Kyojin” in Japanese) live-action movies, which take their name from the original manga series, were developed in close collaboration with series’ creator Hajime Isayama and tell the story of a world where the last of humanity fights to survive against almost unstoppable, man-eating giants. Over the years it has gained almost a cult following with collectables from sites like Solaris Japan becoming very popular amongst the people who watch it. With more than 50 million copies in print today, the “Attack on Titan” manga series has inspired four spin-offs as well as a terrific 25-episode anime series, while also inspiring certain amateur artists to create animated adult content featuring characters, and it doesn’t just stop at Attack on Titan, click for More Info.

PART ONE of the live-action film screens at 7:30pm on Wednesday, 9/30 and at 9:55pm on Thursday, 10/1 at the Claremont 5, NoHo 7, and Playhouse 7. Tickets are available here!

PART TWO screens at 7:30pm on Tuesday, October 20 and at 9:55pm on Thursday, October 22 at the Claremont 5, NoHo 7, and Playhouse 7. Tickets are available here!

https://www.youtube.com/watch?v=dpP4GDGovp0

Vox: “The quietly radical DIARY OF A TEENAGE GIRL turns the page on coming-of-age films.”

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This Friday, at five of our six venues, we’ll be opening a film we enjoyed immensely, THE DIARY OF A TEENAGE GIRL. The girl of the title is Minnie Goetze (fantastic newcomer Bel Powley), who is longing for love, acceptance and a sense of purpose in the world. She begins a complex love affair with her mother’s (Kristen Wiig) boyfriend, “the handsomest man in the world,” Monroe Rutherford (Alexander Skarsgård). What follows is a sharp, funny and provocative account of one girl’s sexual and artistic awakening, without judgment.

Based on a 2002 graphic novel, film critics have embraced the film (it has a 93% fresh rating on Rotten Tomatoes as of this writing). Writing in New York Magazine, Bilge Ebiri exclaimed, “the first thing to know about THE DIARY OF A TEENAGE GIRL is that young British actress Powley is staggeringly good in it.” In the L.A. Times, Rebecca Keegan wrote, “big summer action movies can be thrilling, but if you really want to feel your heart pounding out of your chest, try being a 15-year-old girl for 101 minutes.” In the New Republic, Elaine Teng called the film “a startlingly tough, authentic depiction of budding womanhood.” And in the New York Times, Manohla Dargis declared the film “exhilarating…the novel is life-specific, but what makes Minnie – on the page and now on the screen – greater than any one girl is how she tells her own story in her own soaringly alive voice.”

The extended Vox review included this observation by the film’s director, Marielle Heller: “I think as a society, we’re just a little bit afraid of teenage girls, and we’re definitely afraid of their sexuality. There’s a desire to shelter girls and also to ignore what they might be feeling or experiencing. The result of that is if you’re a teenage girl who’s having thoughts about sex, you think something’s wrong with you.” This is the same approach to the topic as what you can find other people writing about, and what the reasons are it for, for instance on this Lovegasm blog article about sexual forward-thinking within the media.

THE DIARY OF A TEENAGE GIRL wonderfully rejects that path.

https://www.youtube.com/watch?v=G2M9kqb5wVw

Riveting Brazilian Film THE SECOND MOTHER Opens Next Week

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An excitingly fresh take on some classic themes and ideas, THE SECOND MOTHER centers around Val, a hard-working live-in housekeeper in modern day Sao Paulo. Val is perfectly content to take care of every one of her wealthy employers’ needs, from cooking and cleaning to being a surrogate mother to their teenage son, who she has raised since he was a toddler. But when Val’s estranged daughter Jessica suddenly shows up the unspoken but intrinsic class barriers that exist within the home are thrown into disarray. Jessica is smart, confident, and ambitious, and refuses to accept the upstairs/downstairs dynamic, testing relationships and loyalties and forcing everyone to reconsider what family really means.

Variety film critic Geoff Berkshire called THE SECOND MOTHER “immensely endearing” and “a savvy, socially conscious crowdpleaser that occupies a rare middle ground between genteel and intellectual world cinema.” Hollywood Reporter writer Boyd van Hoeij declared “beautifully written and acted with precision, this film’s a winner.” We are extremely pleased to open THE SECOND MOTHER on August 28th at the Royal, September 4th at the Playhouse and Town Center, and September 11th at the Claremont.

https://www.youtube.com/watch?v=SOrbWcObwR4

ROSENWALD Filmmaker Aviva Kempner in the Forward: “To me, Julius Rosenwald is the best antidote to Donald Trump.”

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Aviva Kempner’s Rosenwald, which we open at the Royal, Playhouse and Town Center on August 28th and the Claremont on September 5th, is the incredible story of Julius Rosenwald, who never finished high school but rose to become the president of Sears. Influenced by the writings of the educator Booker T. Washington, this Jewish philanthropist joined forces with African American communities during the Jim Crow South to build over 5,300 schools during the early part of the 20th century. The film sheds light on this silent partner of the pre-Civil Rights Movement. Rosenwald awarded fellowship grants to a who’s who of African American intellectuals and artists including: Marian Anderson, James Baldwin, the father and uncle of civil rights leader Julian Bond, Ralph Bunche, W. E. B. DuBois, Katherine Dunham, Ralph Ellison, Langston Hughes, Zora Neale Hurston, Gordon Parks, Jacob Lawrence and Augusta Savage along with Woody Guthrie. Inspired by the Jewish ideals of tzedakah (charity) and tikkunolam (repairing the world) and a deep concern over racial inequality in America, Julius Rosenwald used his wealth to become one of America’s most effective philanthropists. Because of his modesty, Rosenwald’s philanthropy and social activism are not well known today. He gave away $62 million in his lifetime.

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

In a Forward article titled “Is Julius Rosenwald Our Greatest Philanthropist,?” Ms. Kempner (The Life and Times of Hank Greenberg, Yoo-Hoo, Mrs. Goldberg) recently spoke about his latest film, saying “to me, Julius Rosenwald is the best antidote to Donald Trump. You see how pompous rich people can be, but Rosenwald is quite the contrary; he is one of the greatest examples for American Jews of tzedakah, tikkun olam , and repairing the world without fanfare — doing it just because he wants to make a difference.”

New York Times: “In WE COME AS FRIENDS, Hubert Sauper Takes Flight to Survey the Pain Below in Sudan.”

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Academy Award® nominated director Hubert Sauper’s WE COME AS FRIENDS, which we are proud to open at the Royal, Playhouse and Town Center on Friday, August 21, is a modern odyssey, a dizzying, science fiction-like journey into the heart of Africa. At the moment when the Sudan, the continent’s biggest country, is being divided into two nations, an old “civilizing” pathology re-emerges – that of colonialism, the clash of empires, and new episodes of bloody (and holy) wars over land and resources. The director of DARWIN’S NIGHTMARE takes us on this voyage in his tiny, self-made, tin and canvas flying machine. He leads us into improbable locations and into people’s thoughts and dreams, in both stunning and heartbreaking ways. Chinese oil workers, U.N. peacekeepers, Sudanese warlords, and American evangelists ironically weave common ground in this documentary, a complex, profound and bitterly humorous cinematic endeavor.

On July 31, the New York Times published Nicolas Rapold’s fascinating piece about the film in their Sunday Arts & Leisure section. Here’s how it starts:

There’s no shortage of jaw-dropping moments in Hubert Sauper’s new film, “We Come as Friends,” an illustrated essay on contemporary colonialism. But the most haunting may be a lightning-streaked nighttime visit to a South Sudanese tribal leader. Mr. Sauper brandishes a copy of a contract to confirm a terrible truth, and the leader’s moistening eyes and dejected bearing say everything. The old man has signed away hundreds of thousands of acres of land to a Texas firm.

“This was history unfolding in its best and most sarcastic form in front of my camera. And then the storm came,” Mr. Sauper said in a Skype interview from Paris. “As a filmmaker, it’s too good to be true. And it’s terrifying.”

It’s one example of how Mr. Sauper, the Austrian-born director of “WeCome as Friends,” portrays complicated contemporary realities through vivid and industrious reportage. Ten years ago his Academy Award-nominated documentary, “Darwin’s Nightmare,” sifted through the wreckage of globalization by way of the fishing export industry in Lake Victoria, the impact on local Tanzanians, and a fast-and-loose subculture of Russian cargo-plane pilots.

Read the rest of the piece here.

https://www.youtube.com/watch?v=E0MgQLk2OCQ