Tag Archives: Aero Theatre

KELLY REICHARDT IN CONVERSATION

This week in Santa Monica, Kelly Reichardt will present her highly anticipated new film FIRST COW and participate in a post-screening discussion.

As part of the American Cinematheque’s salute to the filmmaker, additional screenings include a double-bill of OLD JOY (2006) and RIVER OF GRASS (1994), introduced by the director.

On Sunday, Kenji Mizoguchi’s UGETSU (1953)—a film that inspired Reichardt’s new work—will screen with Jean Rouch’s PETIT À PETIT (1970).

OLD JOY and RIVER OF GRASS

Thursday, February 27, at 7:30 pm.

FIRST COW

Friday, February 28, at 7:30 pm.

UGETSU and PETIT À PETIT

Sunday, March 1, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Kelly Reichardt, First Cow (2020), from top: John Magaro; Orion Lee (left) and Magaro; U.S. poster; Toby Jones; Magaro. Images courtesy and © the filmmaker and A24.

KOBAYASHI’S HUMAN CONDITION

The finest achievement yet made by cinema… Unquestionably the greatest film ever made. — David Shipman

This weekend the American Cinematheque presents an all-day 35mm screening of Masaki Kobayashi’s epic trilogy THE HUMAN CONDITION.

Part of the Cinematheque’s Visions of a Pale Horse—Antiwar Cinema series at the Aero, the film’s first part—No Greater Love—will begin at 1 pm, with intermission breaks before parts two and three.

THE HUMAN CONDITION TRILOGY

Saturday, February 8, at 1 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Masaki Kobayashi, The Human Condition (1959–1961). Images courtesy and © the estates of the filmmakers and actors, and Janus Films.

I LOST MY BODY — JÉRÉMY CLAPIN IN CONVERSATION

Jérémy Clapin will be in town to present his acclaimed animated drama I LOST MY BODY, the point-of-view story of an errant hand and its trip across Paris.

For this free American Cinematheque program, the director will also participate in a post-screening discussion of his work.

I LOST MY BODY—JÉRÉMY CLAPIN

Wednesday, January 29, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Jérémy Clapin, I Lost My Body / J’ai perdu mon corps (2019). Images courtesy and © the filmmaker and Netflix.

VARDA BY AGNÈS

Three words are important to me: inspiration, creation, and sharing… I don’t care if my films make money. I care that my films are seen and are loved. Agnès Varda

“My mother was very funny—left wing but not politically correct. We traveled a lot together. She was so curious and she loved gossip. Qui baise qui?

“Agnès was 89 when we started VARDA BY AGNÈS. She had lung cancer and we could only work three hours a day. This film was so difficult, going from the editing room to the hospital to the editing room…

“My mother would say, Don’t complain too much. Do it. We work hard, but it should look easy. We should not show the ‘work.’ Rosalie Varda, Agnès’ daughter and a co-producer of VARDA BY AGNÈS, in conversation with Ava DuVernay*

Agnès Varda didn’t like or use the word “master” to refer to herself or her work—what she called her cinéma écriture—but VARDA BY AGNÈS, her final film, is undeniably a master class in cinema, and a “characteristically playful, profound, and personal summation of the director’s own brilliant career.”

Now playing at the Aero Theatre, these American Cinematheque screenings of VARDA BY AGNÈS will be introduced by a variety of guests, including Illeana Douglas, Julie Delpy, Chloe King, Lisa Blok-Linson, Lynne Littman, Jim McBride, and Peter Debruge. See link below for details.

Later this month, VARDA BY AGNÈS opens at the Laemmle Glendaleand Playhouse.

VARDA BY AGNÈS

Through December 11.

Aero Theatre

1328 Montana Avenue, Santa Monica.

From December 20:

Glendale

207 North Maryland Avenue, Glendale.

Saturday and Sunday, December 21 and 22, 10:10 am.

Playhouse

673 East Colorado Boulevard, Pasadena.

*Rosalie Varda and Ava DuVernay in conversation, Array 360° Film Series, November 2, 2019, Array Campus, Los Angeles.

From top: Agnès Varda on the set of Uncle Yanco (1967); Varda, behind camera, shooting her first feature La Pointe court (1955); Silvia Monfort and Philippe Noiret in La Pointe court; Alain Resnais and Varda editing the film; Corinne Marchand, Cléo de 5 à 7 (1962); Le Bonheur (1965); Varda, Visages Villages (2017), co-directed by Varda and JR; Varda and Jean “Yanco” Varda, Uncle Yanco; Kathleen Cleaver in Black Panthers (1968); James Rado (left), Viva, and Gerome Ragni in Lions Love (…and Lies) (1969); Varda by Agnès (2019) (2); Jeanne Moreau (left), Hanna Schygulla, and Michel Piccoli (as Simon Cinéma) in One Hundred and One Nights (1995); 72nd Festival de Cannes tribute poster, 2019; Varda by Agnès. Images courtesy and © Ciné Tamaris, MK2, Criterion, and Janus Films.

PHILIP KAUFMAN AND JULIETTE BINOCHE IN CONVERSATION

Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. Roger Ebert, 1988

Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OF BEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.

PHILIP KAUFMAN and JULIETTE BINOCHE

THE UNBEARABLE LIGHTNESS OF BEING

Sunday, November 10, at 5 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Philip Kaufman, The Unbearable Lightness of Being (1988), from top: Daniel Day-Lewis and Juliette Binoche; Lena Olin (2), Day-Lewis and Olin. Images courtesy and © the filmmaker, the actors, and the Saul Zaentz Company.