The L.A. Rep-port: 10/14 to 10/20, by Scott Nye
The Rep-port is a weekly series highlighting the best and most compelling repertory screenings in the city.
I’ll be out of the country all week next week, and am positively seething with jealousy over how Angelenos will be able to spend their time. First and foremost, there are three different theaters taking advantage of the great Apichatpong Weerasethakul being in town. Cinefamily hosts the man and a screening of Uncle Boonmee Who Can Recall His Past Lives (2010, 35mm) on Monday, then brings him back for Cemetery of Splendour (2015, DCP) on Wednesday. The Aero Theatre repeats Uncle Boonmee (35mm again) along with Syndromes and a Century (2006, 35mm) and a discussion with the director on Thursday. Finally, and most tantalizingly, the UCLA Film & Television Archive in collaboration with Los Angeles Filmforum and REDCAT, hosts the filmmaker for an extremely rare two-night exhibition of his short films. That’s next Friday and Saturday, so it should really be covered in next week’s column, but whatever, it’s exciting. I’m a big, big, big fan of the three features, which I recently revisited for an article on another site, and they hold up magnificently well.
UCLA is also kicking off a series of contemporary Chinese films, but in that batch includes the west coast premiere of the new restoration of Stage Sisters (1964, DCP).
If you’re up for risking the kind of crowds a free screening at LACMA draws in, there is an extraordinarily rare opportunity to see Michael Snow’s Wavelength next Saturday afternoon. It shows alongside Walter De Maria’s Hardcore. Formats aren’t listed, but 35mm is the default at LACMA, and I don’t think either exist officially in another form. Cinefamily screened Wavelength four or five years ago, and wouldn’t you know it I was sick that day and now I’m out of town this time. I guess I’ll see you guys in 2020.
Cinefamily’s tribute to Frederick Wiseman keeps on trucking with Primate (1974, 16mm), which deals in some animal testing and research and is likely not for the fair of heart. On Sunday, their Hangover Matinees series turns to Haunted Hangovers with Jack Clayton’s fantastically spooky The Innocents (1961, DCP). But if your Tuesday afternoons are free, LACMA’s showing it on 35mm. What a world. Starting next Thursday, Cinefamily kicks off a weekend retrospective and tribute to trans cinema, which includes a midnight screening of John Waters’ Female Trouble (1974, 35mm).
Horror aficionados may find more to love in the New Beverly’s slate this week than I did, but the real highlight to me is Rouben Mamoulian’s outstanding Dr. Jekyll and Mr. Hyde (1931, 35mm). Mamoulian was way ahead of the curve in adapting to sound, and his first few features would be ambitious and incredibly accomplished even ten years later. It shows on a double bill with the blacksploitation feature Dr. Black, Mr. Hyde (1976, 35mm), about which I know nothing, but it looks awesome.
The Egyptian Theatre hosts a 35mm double feature of the quite thrilling The Abominable Dr. Phibes (1971) and Dr. Phibes Rises Again (1972) on Friday. Screenwriter William Goldstein (not to be confused with Goldman) joins for a Q&A.
The Aero’s tribute to Paul Schrader continues with a spectacular double bill of Raging Bull (1980, 35mm) and Cat People 1982, DCP) on Saturday. Hopefully we all know how great the former is, and while the latter isn’t as accomplished as Jacques Tourneur’s original, it’s one wild ride, that’s for sure.