THE STORY OF ADÈLE H. (1975)
dir. François Truffaut
November 20, 7:30 PM
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Hammer Museum / Billy Wilder Theater (MAP)
The Hammer Museum exhibit The Drawings of Victor Hugo is complemented by François Truffaut’s beautiful, moody portrait of destructive romantic determination. It’s impossible to look away from Isabelle Adjani as Victor Hugo’s daughter Adèle. She falls in love with Pinson (Bruce Robinson), a British lieutenant who is aware of and utterly indifferent to her passions. Rather than being dissuaded by his rebuff, Adèle plunges into obsession with the officer, and ultimately pursues him all the way to end of her sanity. Cinematographer Nestor Almendros is most often acclaimed for Days of Heaven and Sophie’s Choice, and The Story of Adèle H. showcases his sensitive use of light and color in different context. He and Truffaut employ deep shadows and subtle reds that turn Adèle’s mad devotion into an uncanny daylight gothic tale.
35mm | INFO | Free
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SHIRKERS (2018)
dir. Sandi Tan
November 27, 7:30 PM
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Bing Theater @ LACMA (MAP)
In Singapore in 1992, 19-year old Sandi Tan and friends Jasmine Ng and Sophie Siddique shot Shirkers, a youth rebellion serial killer road movie. With help from Tan’s film professor and mentor, Georges Cordona, the 16mm project was the first indie produced in the country — and you’ve never seen it, because after production, Cordona disappeared, taking the film with him. Twenty years later, Tan got the footage back. Now, the documentary Shirkers uses that footage, plus vintage behind the scenes video and recent interviews to weave a brilliant, personal detective story about stolen ambitions and reclaimed history. Tan, a dedicated Twin Peaks fan, told The Guardian, “I felt like I was Laura Palmer coming back to solve my murder all over again, which is what I’m essentially doing in the film. I’m solving this black hole my life had fallen into.” She will be in attendance for a post-screening Q&A.
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DOG DAY AFTERNOON (1975)
dir. Sidney Lumet
November 19, 7:00 PM
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Arclight Santa Monica (MAP)
Sidney Lumet’s semi-fictionalized account of a 1972 Brooklyn bank robbery is absolutely electric, thanks to Al Pacino’s manically virtuosic performance as the complicated, impulsive Sonny, and John Cazale’s counterpoint appearance as Sonny’s traumatized, cold, and timid companion Sal. Dog Day Afternoon is nuanced and unusually perceptive in its depiction of a part of New York that has vanished, but the film is as vital now as it was in original release more than 40 years ago. This Film Independent screening will be followed by a discussion with Private Life star Kathryn Hahn and director Tamara Jenkins, who considers the film a key career influence.
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AND MORE
CANIBA (2017)
dir. Véréna Paravel and Lucien Castaing-Taylor
November 19, 8:00 PM - Downtown Independent (MAP)
The directors of 2012’s Leviathan — the hypnotic and brutal non-linear commercial fishing documentary — push into wholly uncomfortable and confrontational territory with this portrait of Issei Sagawa, a Japanese man who in 1981 killed and ate a fellow university student in Paris. The filmmakers study Sagawa and his brother/caretaker Jun in unrelenting close-up; the film has been described, alternately, as “frequently uncomfortable but always fascinating” (THR) and “an exercise in intellectualized scab-picking” (NYT).
THE BALLAD OF BUSTER SCRUGGS (2018)
dir. Ethan Coen, Joel Coen
Open through Nov 22 - The Landmark (MAP)
Netflix is promoting the new Coen Brothers movie as part of their streaming service, naturally, but the film is also programmed for a week-long run at The Landmark — the best way to see the Coens’ reunion with Inside Llewyn Davis cinematographer Bruno Delbonnel.
DAWN OF THE DEAD 3-D (1978)
dir. George Romero
November 23, 7:30 PM - Aero Theatre (MAP)
Cap off your Black Friday shopping with a strange new version of George Romero’s anti-consumerist zombie classic. There are many cuts of Dawn of the Dead. This is the uncut 127-minute U.S. theatrical release from 1979, post-converted to 3-D under the supervision of original producer Richard P. Rubinstein.
LAWRENCE OF ARABIA (1962)
dir. David Lean
November 23 and 24, 7:30 PM - Egyptian Theatre (MAP)
David Lean’s vision of the life of T.E. Lawrence is so many things: subtle, incomplete, unfortunate (with multiple actors in brownface), and one of the biggest examples of the classic Hollywood epic. Freddie Young’s cinematography is both grand and intimate, and these 70mm presentations are the ideal way to experience the film’s breathtaking vistas. Note: A planned November 25 screening has been canceled due to street closures for the Hollywood Christmas Parade.
CAUGHT (1949)
dir. Max Ophüls
November 29, 7:30 PM - Bing Theater @ LACMA (MAP)
Robert Ryan plays a Howard Hughes analog in this noir directed by Max Ophüls. In 1946, the filmmaker had been fired by Hughes while directing Vendetta, which was meant to be Ophüls’ first Hollywood film; he based Caught on the relationship between Hughes and Vendetta star Faith Domergue. That story is further explored in the book Seduction: Sex, Lies and Stardom in Howard Hughes's Hollywood, by You Must Remember This podcast host Karina Longworth. She will appear for a signing and post-screening conversation with director Edgar Wright.
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