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The L.A. Rep-port: 3/3 to 3/9, by Scott Nye

2 Mar

The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

Happy days are here again in the form of UCLA’s biennial Festival of Preservation, a chance for the UCLA Film & Television Archive to show off all the new restorations they’ve completed. As mentioned last week, the festival runs all month in Westwood, and a $50 pass gets you into every one of their programs (tickets run $9 apiece otherwise).

I value the festival more for the possibility of discovery than any confirmation of what I already know is great, but this year kicks off with an absolute masterpiece, Ernst Lubitsch’s Trouble in Paradise (1932, 35mm). Longtime listeners may recall this is one of my all-time favorites, and I cannot wait to revisit it for the umpteenth time in such fine form. There’s always something new lurking in it, it seems. I’ve preceded by a 1931 short that apparently nobody’s seen since that year, and followed by Marion Gering’s western(?) I Take This Woman (1931, 35mm), starring Gary Cooper and Carole Lombard. I follow its genre with a question mark because, although UCLA’s description suggests that’s what it is, it’d be just about the only such film I’ve heard of Paramount releasing in this era. It does sound like more of a ranch romance than a gunslinger tale, so we’re not totally afield, but this once-thought-lost film should make for an interesting discovery at any rate.


The L.A. Rep-port: 2/24 to 3/2, by Scott Nye

23 Feb

It’s Oscar week in Hollywood, which shuts down a good deal of activity, but there are still some solid programs to catch if you’re in the market for them.

The New Beverly is offering an exceedingly-rare chance to see Marcel Carné’s Children of Paradise (1945, 35mm) on 35mm this Friday and Saturday. If you have the space in your schedule, it is absolutely essential viewing. Not just a landmark film, but a really moving, funny, beautiful and rich experience as well.


The L.A. Rep-port: 2/17 to 2/23, by Scott Nye

16 Feb

If you’ve been following this column this month, you’ll have a pretty good idea of what to expect this week – female filmmakers at UCLA, David Lynch at the Egyptian, and B-westerns at the New Beverly. But certainly don’t start tuning out now, there’s too much good stuff to come.

I’ll start with a film that was one of my favorite discoveries last year when Cinefamily showed it as part of their own independents-of-the-’80s series – Susan Seidelman’s Smithereens (1982, 35mm). This is one gutsy, frank, audacious movie, featuring an unapologetically unlikable female protagonist who you wouldn’t dare to stop watching. She might just pick your pocket. They’re also showing a Jane Campion short before that, so that’s pretty cool.


The L.A. Rep-port: 2/10 to 2/16, by Scott Nye

9 Feb

Dear readers, I feel like I am going to positively burst with excitement for all that is screening this next week.

UCLA continues its tribute to female filmmakers in the ‘70s and ‘80s with a pair of knock-down, bonafide, can’t-miss classics – Claudia Weill appears in person on Saturday for a screening of her film Girlfriends (1978, 35mm), while Sunday brings Chantal Akerman’s titanic, much-imitated-but-never-bested Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, 35mm). Jeanne Dielman in particular is going to get very difficult to see on 35 as a DCP was recently made, so seize this moment, friends.


The L.A. Rep-port: 2/3 to 2/9, by Scott Nye

3 Feb

The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

UCLA is kicking off a fantastic retrospective celebrating female filmmakers in the 1970s and ‘80s, starting with their new restoration of Desert Hearts (1986, DCP) on Saturday and a double bill of Hester Street (1975, 35mm) and The Gold Diggers (1983, 35mm) on Sunday. The series runs through the rest of the month, and includes major works by Chantal Akerman, Susan Seidelman, Barbara Loden, and more.


The L.A. Rep-port: 1/13 to 1/19, by Scott Nye

12 Jan

I have now seen three Straub-Huillet films, and can state with confidence that UCLA’s retrospective is exhilarating and vital stuff. Better still, if Fortini/Cani is any measure, the new DCPs look really, really good. From the Cloud to the Resistance (1978, DCP) and These Encounters of Theirs (2005, 35mm) show on Friday. I will say that Straub-Huillet apparently prefer not to subtitle all the dialogue in their work, so that may be a factor in any forthcoming programming.


The L.A. Rep-port: 1/6 to 1/12, by Scott Nye

5 Jan

The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

Cinefamily is kicking off their complete Pedro Almodovar retrospective this weekend with Women on the Verge of a Nervous Breakdown (1988, DCP), The Skin I Live In (2011, 35mm), All About My Mother (1999, 35mm), Pepi Luci Bom and Other Girls Like Mom (1980, DCP), Broken Embraces (2009, DCP), and Live Flesh (1997, 35mm). Watch them all and real life won’t seem quite as exciting. I’ve seen five of the seven, and while I’m a bit cooler on The Skin I Live In (it obviously should have been titled The Skin In Which I Live I mean come on), I’m considerably warmer on Broken Embraces, so in my mind you really can’t go wrong here. My fiancée, who’s crazy for Pedro, has seen all seven and vouches for them. Fun fact – Women on the Verge of a Nervous Breakdown directly informs Broken Embraces, so there’s good cause to see both, besides their general greatness.


The L.A. Rep-port: 12/9 to 12/15, by Scott Nye

9 Dec

The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

One doesn’t like to go too far out on a limb, but to say the new 70mm print of 2001: A Space Odyssey playing at the Egyptian this weekend and throughout December is the repertory event of the season might not, in fact, be an understatement. Until this new print was unveiled at Beyond Fest in October, I don’t believe 2001 has played in Los Angeles on film since the Academy’s Last 70mm Film Festival in 2012. I’ve been waiting ever since.


The L.A. Rep-port: 12/1 to 12/8, by Scott Nye

2 Dec


The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

LACMA is showing That Thing You Do! (1996, 35mm)! Extra exclamation point mine!

The Bev is kicking off a sizable Kubrick retrospective, pairing his mid-career work (sans 2001, but we’ll get to that next week) with the mammoth documentary Stanley Kubrick: A Life in Pictures (2001, 35mm). Who’s going to watch a two-and-a-half-hour doc after the three-hour Barry Lyndon (1975, 35mm), I do not know, but Barry Lyndon is a must-see on 35, so it’s worth going just for that. I don’t object as strongly to the Blu-ray that WB put out a few years ago, but there’s no question that digital struggles to replicate the textures Kubrick and cinematography John Alcott crafted. It’s also just a top-to-bottom masterpiece. That plays Wednesday and Thursday at 7:30, then again the following Saturday at 5:00. Dr. Strangelove, Or: How I learned to Stop Worrying and Love the Bomb (1964, 35mm) kicks off the series Sunday and Monday at 6:30 and 7:30, respectively. As recently discussed on the show, you really oughta see it in the theater. It’s a blast.


The L.A. Rep-port: 11/4 to 11/10, by Scott Nye

3 Nov


The Rep-port is a weekly(ish) series highlighting the best and most compelling repertory screenings in the city.

The great critic and author Matt Zoller Seitz will be in town promoting his book The Oliver Stone Experience with two screenings at Cinefamily. One Friday, he’s showing the relatively unknown horror film The Hand (1981, 35mm), with Stone in person for some kind of Q&A situation one imagines. On Saturday, he and actor Jim Beaver present Platoon (1986, 35mm). Beaver wasn’t in the film, but he’s a Vietnam veteran and a funny and insightful dude in his own right.