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.Greg Proops is showing 9 to 5(1980, DCP) as part of his film series there. I’ve never seen it, but it’s a favorite of Tyler’s and David’s so I’m hoping to rectify that oversight this week.
And if that wasn’t enough, they’re also bringing Peter Bogdanovich in to moderate a Q&A with Pascal Mérigeau, who wrote a new biography of Jean Renoir, preceded by a screening of Renoir’s outstanding war film, The Grand Illusion(1937, 35mm). Fun fact – The Grand Illusion was the first foreign-language film I saw in a theater, but I was too much of a brat teenager to admit to my parents, who dragged me there, that I kind of liked it.
UCLA is diving headfirst into their retrospective on the films of Jean-Marie Straub and Danièle Huillet this weekend, with The Chronicle of Anna Magdalena Bach (1967, DCP), Moses and Aaron (1974, DCP), From Today Until Tomorrow (1996, 35mm), Not Reconciled, Or Only Violence Helps Where Violence Rules (1964-65, 35mm), and Fortini/Cani (1976, DCP) leading the charge. I’ve seen exactly zero of the pair’s famously trying films, but hopefully by this time next week I’ll have at least partially rectified that. Great titles though, amirite? Most are on DCP, unfortunately, but one does what one can with one’s resources.
But the really exciting thing is at the Aero’s sister theater, the Egyptian, in their smaller Spielberg Theatre, where they’ll be showing D.W. Griffith’s Broken Blossoms (1919, 16mm) on what they describe to be a “stunning, color-tinted print!” It will definitely have live accompaniment by the great Cliff Retalilick, at any rate.
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.Greg Proops is showing 9 to 5 (1980, DCP) as part of his film series there. I’ve never seen it, but it’s a favorite of Tyler’s and David’s so I’m hoping to rectify that oversight this week.
